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Lesotho Water Realms

@lesotho_water_realms

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XXIII International Exhibition
Triennale di Milano
Lesotho Pavilion 2022
POSTS STORIES REELS
Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets AOUMM @__aoumm__ + Giovanna Silva @giovannamuzzisilva Opening: Saturday 15 April, 18-21 / Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets, a collaborative project between architecture studio AOUMM and photographer Giovanna Silva, focuses on the complex history of the Basotho blanket, a national emblem in Lesotho that remains central to every rite of passage, from childbirth to marriage to burial ceremonies, and everything else in between. Each blanket is decorated with stylized drawings taken from a palimpsest of petroglyphs, architectural motifs, and historical events, which take on life when folded and wrapped around people’s shoulders. In Lesotho, to wear a blanket is to wear a fragment of the country’s landscape and history. / The exhibition will coincide with Salone del Mobile Milano 2023 / SPBH Space @spbhspacemilan Via Venini 26 Milano / Photo: @giovannamuzzisilva by @lesotho_water_realms
Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets AOUMM @__aoumm__ + Giovanna Silva @giovannamuzzisilva Opening: Saturday 15 April, 18-21 / Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets, a collaborative project between architecture studio AOUMM and photographer Giovanna Silva, focuses on the complex history of the Basotho blanket, a national emblem in Lesotho that remains central to every rite of passage, from childbirth to marriage to burial ceremonies, and everything else in between. Each blanket is decorated with stylized drawings taken from a palimpsest of petroglyphs, architectural motifs, and historical events, which take on life when folded and wrapped around people’s shoulders. In Lesotho, to wear a blanket is to wear a fragment of the country’s landscape and history. / The exhibition will coincide with Salone del Mobile Milano 2023 / SPBH Space @spbhspacemilan Via Venini 26 Milano / Graphic Design: @brianpaullamotte by @lesotho_water_realms
Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets AOUMM @__aoumm__ + Giovanna Silva @giovannamuzzisilva Opening: Saturday 15 April, 18-21 / Motlatsi: Visualization of Landscape and Rituals on Basotho Blankets, a collaborative project between architecture studio AOUMM and photographer Giovanna Silva, focuses on the complex history of the Basotho blanket, a national emblem in Lesotho that remains central to every rite of passage, from childbirth to marriage to burial ceremonies, and everything else in between. Each blanket is decorated with stylized drawings taken from a palimpsest of petroglyphs, architectural motifs, and historical events, which take on life when folded and wrapped around people’s shoulders. In Lesotho, to wear a blanket is to wear a fragment of the country’s landscape and history. / The exhibition will coincide with Salone del Mobile Milano 2023 / SPBH Space @spbhspacemilan Via Venini 26 Milano / Photo: @giovannamuzzisilva by @lesotho_water_realms
Motlotlehi Letsie III and Nelson Mandela pressing the button to open the water at the Muela Dam in South Africa. Source: Lentsoe La Basotho, Newspaper, February 1997. . Established through the 1986 Treaty, between the Governments of the Kingdom of Lesotho and the Republic of South Africa, the Lesotho Highlands Water Project (LHWP) is regarded as one of the world’s most successful regional transboundary water resource management schemes. The Project was initiated in the 1980s for the mutual benefit of the two countries. Gauteng, the industrial hub of South Africa, acquires much needed water, while Lesotho generates hydropower, receiving royalties from the water transfer. . The Treaty is signed between two Treaty Parties: the Government of the Kingdom of Lesotho and the Government of the Republic of South Africa, setting out the governance structures required to implement the Project on behalf of the two governments. @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #infrastructure #dam #mueladam #southafrica by @lesotho_water_realms
City Centre Studios, 1979, from the Ramakatane archives, via @lesothoarchives, a digital archive building a collective imagery of the Basotho Culture. . “They develop their hair into thick tresses and put strings of white beads around their heads, necks, wrists and ankles. Many of them also put on special skirts made of Swazi traditional cloth. Preference is given to a red and white cloth printed with crocodile images. Both the crocodile images and the long bead–laden tresses symbolize the Water Snake. When they develop tresses is the thick mane, which as we have already said, is one of the features of the water snake, they are trying to look like it”. Source: Interview with Thato Toeba, Lesotho, 2022. @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #rituals #katsedam #tresses #hair #hairstyle #basotho #swazi by @lesotho_water_realms
1. A cruciform windshield, built of mud, allows the fire to be lit in either of the four corners, depending on the direction of the wind. 2. Baskets for storage of grain, such as these, are nowadays rarely used. The one in the foreground has been made airtight with a layer of mud. 3. A drain, consisting of a deep hole in the ground, filled with stones, and covered with a grating made of a sheet of metal with small holes in it. Wastewater that is poured in here slowly drains away into the ground without causing erosion. . Source: Martina Sovrè, Helena Andersson, Traditional Rural Dwellings of Lesotho, Royal Institute of Technology, Centre for International Technical and Educational Cooperation, 1995 @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #indigenous #indigenousarchitecture #mud by @lesotho_water_realms
"Not many people know the country of Lesotho, and nobody has looked at it as the central water reserve for the most developed country in Africa. By designing an exhibition that can both be seen in 10 seconds, by observing the two carpets that feature comparative GIS images generated by 1995 and 2022 data: visually depicting the changes in the landscape, or by reading the extensive visual map printed on wallpaper we aimed at drawing attention to an unknown country and its unknown or undercover exploitation. […] To map is a noun, a verb, an object and an action simultaneously. Representation is the tool to investigate issues related to architecture and broader and more complex problems, such as geopolitics in this case. Mapping, for example, has historically had enormous importance in defining political, economic and social questions and boundaries, but it is also a tool for knowledge. The simple representation of two moments of the same area has a powerful and profound meaning that goes beyond the image itself. The dam's exact water level mapping concerns the loss of arable land, disappearing villages, people and communities uprooted from their places, along with environmental issues and soil erosion. In this sense, mapping involves political action...” . Photo: study model for the pavilion Text: AOUMM interviewed by @koozarch – thanks to @zambesmile @fra.rf . “Lesotho Water Realms. An ongoing visual research on geopolitics, society and rituals” 23rd @triennalemilano International Exhibition “Unknown Unknowns. An Introduction to Mysteries” July 15th - December 11th, 2022 Commission RISE International NGO, Lesotho @riseint__org Curators Luca Astorri, AOUMM @lcustr / Matteo Poli, AOUMM, DAStU Politecnico di Milano @mupoli73 / Daniela Gusman, RISE International @whynotnomad Exhibition Project @__aoumm__/ RISE International / Giada Zuan @giada.zuang Team @melsjames @landskiplab @retsepile_rammoko @valentina_riverso_ @a_architecture_ 23rd Triennale curator @vaudoersilia #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #23triennale #internationalexhibition #riseinternational #aoumm #landscape #riselesotho #exhibitiondesign #exhibition by @lesotho_water_realms
"Not many people know the country of Lesotho, and nobody has looked at it as the central water reserve for the most developed country in Africa. By designing an exhibition that can both be seen in 10 seconds, by observing the two carpets that feature comparative GIS images generated by 1995 and 2022 data: visually depicting the changes in the landscape, or by reading the extensive visual map printed on wallpaper we aimed at drawing attention to an unknown country and its unknown or undercover exploitation. […] To map is a noun, a verb, an object and an action simultaneously. Representation is the tool to investigate issues related to architecture and broader and more complex problems, such as geopolitics in this case. Mapping, for example, has historically had enormous importance in defining political, economic and social questions and boundaries, but it is also a tool for knowledge. The simple representation of two moments of the same area has a powerful and profound meaning that goes beyond the image itself. The dam's exact water level mapping concerns the loss of arable land, disappearing villages, people and communities uprooted from their places, along with environmental issues and soil erosion. In this sense, mapping involves political action...” . Photo: @delfino_sl Text: AOUMM interviewed by @koozarch – thanks to @zambesmile @fra.rf . “Lesotho Water Realms. An ongoing visual research on geopolitics, society and rituals” 23rd @triennalemilano International Exhibition “Unknown Unknowns. An Introduction to Mysteries” July 15th - December 11th, 2022 Commission RISE International NGO, Lesotho @riseint__org Curators Luca Astorri, AOUMM @lcustr / Matteo Poli, AOUMM, DAStU Politecnico di Milano @mupoli73 / Daniela Gusman, RISE International @whynotnomad Exhibition Project @__aoumm__/ RISE International / Giada Zuan @giada.zuang Team @melsjames @landskiplab @retsepile_rammoko @valentina_riverso_ @a_architecture_ 23rd Triennale curator @vaudoersilia #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #23triennale #internationalexhibition #riseinternational #aoumm #landscape #riselesotho #exhibitiondesign #exhibition by @lesotho_water_realms
"Not many people know the country of Lesotho, and nobody has looked at it as the central water reserve for the most developed country in Africa. By designing an exhibition that can both be seen in 10 seconds, by observing the two carpets that feature comparative GIS images generated by 1995 and 2022 data: visually depicting the changes in the landscape, or by reading the extensive visual map printed on wallpaper we aimed at drawing attention to an unknown country and its unknown or undercover exploitation. […] To map is a noun, a verb, an object and an action simultaneously. Representation is the tool to investigate issues related to architecture and broader and more complex problems, such as geopolitics in this case. Mapping, for example, has historically had enormous importance in defining political, economic and social questions and boundaries, but it is also a tool for knowledge. The simple representation of two moments of the same area has a powerful and profound meaning that goes beyond the image itself. The dam's exact water level mapping concerns the loss of arable land, disappearing villages, people and communities uprooted from their places, along with environmental issues and soil erosion. In this sense, mapping involves political action...” . Photo: @delfino_sl Text: AOUMM interviewed by @koozarch – thanks to @zambesmile @fra.rf . “Lesotho Water Realms. An ongoing visual research on geopolitics, society and rituals” 23rd @triennalemilano International Exhibition “Unknown Unknowns. An Introduction to Mysteries” July 15th - December 11th, 2022 Commission RISE International NGO, Lesotho @riseint__org Curators Luca Astorri, AOUMM @lcustr / Matteo Poli, AOUMM, DAStU Politecnico di Milano @mupoli73 / Daniela Gusman, RISE International @whynotnomad Exhibition Project @__aoumm__/ RISE International / Giada Zuan @giada.zuang Team @melsjames @landskiplab @retsepile_rammoko @valentina_riverso_ @a_architecture_ 23rd Triennale curator @vaudoersilia #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #23triennale #internationalexhibition #riseinternational #aoumm #landscape #riselesotho #exhibitiondesign #exhibition #museum by @lesotho_water_realms
A woman and a child walking from the apolistic church on a Sunday, sharing the belief in prophets and prophecies: water is central as their sacred deity and place of worship. Photo by Thato Toeba, @lesothoarchives 2020. . Lesokoane Ceremony. Pursuing the porridge stick. “A playful Sotho ceremony performed to call for rain: women from one village raid another to capture the lesokoane (a wooden porridge stirring spoon), and those from the raided village have to attempt to steal it back. In some places there have been attempts to re-introduce the prayer for rain ceremonies, particularly in the Free State”. Source: Rain Snakes' from the Senqu River: New light on Qing's commentary on San rock art from Sehonghong, Lesotho. Article in Azania, Archaeological Research in Africa, September, 2013 @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #rainsnake #ancestors #rituals #oldrituals by @lesotho_water_realms
Aerial image of Phuthiatsana River Photo by Thato Toeba @lesothoarchives , Masianokeng Bridge, Maseru, 2019 . In the beginning, South African politicians and experts were concerned that the water coming from Lesotho by the Senqu River was a source of silt accumulated in South African dams. Basotho have always been criticized as incapable of adopting the right environmental approach, including land use practices that promoted soil conversation. From 1948, the Basutoland government began advocating and looking for “technical solutions” to ensure that Lesotho’s water arrived in South Africa clear and free of any eroded soil. Technical solutions basically referred to the construction of water storage systems within Lesotho. It was from the 1950s that, what later would become the LHWP, the Oxbow Project started to be considered: a project consisting in a series of dams that would capture any siltation and result in a clearer flow of water to South Africa. Source: Terje Tvedt, E. Jakobsson, A History of Water. Water Control and River Biographies, Steidl, 2015 @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #rituals #katsedam #infrastructure #waterinfrastructure #lhwp #lesothohighlandswaterproject #soil #silt #erosion #soilerosion by @lesotho_water_realms
The houses are essentially the women's realm. Women are responsible for the plastering and its regular maintenance, which is part of the repetitive, reproductive tasks in the household. It is always the woman who decorates the walls of the house in her personal way. Traditionally, the woman is also responsible for the cultivation of the _elds. She is associated with the plant world and with fertility and reproduction. The house can even be seen as a womb metaphor. A newborn child is confined to the house with its mother for a period of time, until the navel string has fallen off, and during this period no man is permitted to enter the house. . 1. The regular replastering of the walls with mud-and-cowdung plaster, and the decoration of the house are the women's responsibilities. 2. A typical Sotho form of wall decoration is the Litema pattern. Previously, it was found on the interior wall surfaces, and similar patterns were used on pottery, which was also made by women. Only during the 19th century, it became used on the exterior wall surfaces. It is now commonly found, covering whole wall surfaces, especially the front facade, or on the plaster frame around the entrance. The litema pattern is said to symbolize ploughed field. It consists of parallel furrows, made with the fingers or with some object, often a kitchen fork. Source: Martina Sovrè, Helena Andersson, Traditional Rural Dwellings of Lesotho, Royal Institute of Technology, Centre for International Technical and Educational Cooperation, 1995 @triennalemilano #triennalemilano #unknownunknowns #lesothowaterrealms #lesotho #water #metsi #23triennale #internationalexhibition #riseinternational #aoumm #landscape #lesothowater #riselesotho #kingdominthesky #lesothopavilion #geopolitics #indigenousarchitecture #architecture #plaster #sotho #mud #walldecoration by @lesotho_water_realms

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