The Art of Telephone Wire: A World of South African Weaving

When iNgqikithi yokuPhica/Weaving Meanings: Telephone Wire Art from South Africa opens at the Museum of International Folk Art on November 17, it will be the first North American museum exhibition of this dazzling woven wire art form—one made possible by a major donation to the museum from David Arment and Jim Rimelspach.

“This donation of nearly 400 well-documented artworks from Arment’s collection dramatically increased our African holdings, creating an important collection of focused depth,” says Carrie Hertz, the museum’s curator of textiles and dress. “It also laid the foundation for this major exhibition that prioritizes the experiences, values and interpretations of talented wire weavers working in South Africa today.”

Weaving Meanings is an extraordinary exploration of the evolution of the medium, from its origins as a 16th-century prestige item to contemporary telephone wire art objects. The exhibition juxtaposes historic and contemporary works, such as izimbenge (beer pot lids), platters, vessels and ceremonial pieces.

The unique artistic tradition of intricate wirework embodies a rich history of resourcefulness and cultural adaptation from South Africa's
KwaZulu-Natal region. While decorative wire use has long been a feature there, artistic creativity flourished with the arrival of colorful, plastic-coated copper wire brought about by advancements in telecommunications. In the 1960s, Zulu night guards stationed at factories began weaving leftover telephone wire around their nightsticks. This simple act of embellishment, a way to pass the time, became the seed of a singular art form.

Weaving Meanings takes visitors on a chronological journey through seven themed zones, from the originality of the Zulu night guards, to the artistic response to apartheid, to the art form’s optimistic post-apartheid flourishing. That journey reflects Arment’s passion for the art form in assembling a comprehensive, world-class collection.

“Jim and I have been traveling to Africa for over 30 years, and our visits overlapped with the development of this art form and the emergence of so many talented master weavers,” says Arment. “We built this collection over many years and are so excited to be sharing the art of telephone wire with the museum and the world.”

The exhibition culminates with complex masterpieces that have captured the international spotlight. Video interviews shed further light on the artists' experiences, offering a glimpse into their lives and the wirework creation process.

"Working closely with South African artists and filmmakers and consulting a team of Indigenous Knowledge Experts—artists, community members and others with deep connections to wire-weaving communities in KwaZulu-Natal, South Africa—ensured the exhibition reflects diverse perspectives,” says guest curator Elizabeth Perrill. “Educational materials designed for South African educators foster
international connections around telephone wire art while enriching the MOIFA collection."

Weaving Meanings is supported by the International Folk Art Foundation and Friends of Folk Art with lead support from David Arment and Jim Rimelspach. Other major support comes from Courtney and Scott Taylor, the William H. and Mattie Wattis Harris Foundation, and additional donors to the Museum of New Mexico Foundation's Exhibition Development Fund, including Trisha Wilson, in honor of David Arment; Joan and Steve Grady; and Ginger and Kelly Hardage.

This article and images are from the Museum of New Mexico Foundation’s Member News Magazine.