Education:
2017: Smithsonian Artist research fellow. Washington DC.
2005-2007: MA Fine Art, National Arts Academy, Oslo Norway
2001-2005: BA Fine Art, National Arts Academy, Oslo, Norway
1998-2000: Diploma in art teaching – Evelyn Hone College of Applied Arts and
Commerce, Lusaka, Zambia
Work positions:
The Lusaka Contemporary Art Centre Founder and Artistic Director
2022-2023. Curatorial Assistant and technical consultant for the Inaugural exhibition of
The Lusaka Contemporary Art Centre
2020-2022: Expert. Grants program for the Nordic Culture Point.
2002-2022: Private and Production Assistant to Jan Groth.
2007 – : Art Studio Practice at Victor Mutelekesha Studio.
Category: Uncategorized
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About
Education:
2017: Smithsonian Artist research fellow. Washington DC.
2005-2007: MA Fine Art, National Arts Academy, Oslo Norway
2001-2005: BA Fine Art, National Arts Academy, Oslo, Norway
1998-2000: Diploma in art teaching – Evelyn Hone College of Applied Arts and
Commerce, Lusaka, Zambia
Work positions:
The Lusaka Contemporary Art Centre Founder and Artistic Director
2022-2023. Curatorial Assistant and technical consultant for the Inaugural exhibition of
The Lusaka Contemporary Art Centre
2020-2022: Expert. Grants program for the Nordic Culture Point.
2002-2022: Private and Production Assistant to Jan Groth.
2007 – : Art Studio Practice at Victor Mutelekesha Studio. -
Phantom of self

By: Victor Mutelekesha.
Photographed by Istvan Virag
Mixed Medium Sculpture.
Dimensions :150cm Diameter.
In the “great dictator”, Hitler, played by Charlie Chaplin flirts with the idea of potentially becoming an emperor of the world in the scene in his office where he kicks, bounces and caresses the globe. In his delusion state of mind only them will he be content. The globe as the measure of endurance and wholeness stretches back into ancient times, the Greek mythology speaks of Atlas the Titan god who bore the entire world on his shoulders as punishment but he then became viewed as the automate symbol of endurance, strength and the bearer of the heaviest of burdens.
Aware of the above references to the globe this project takes the shape of the globe to illustrate for illustration.
This project though explore the self as a moving target, one with potential of never being fully realized till the day we die. The self is in contact flux, like the globe has potential of rolling over in any given direction and like snow ball keep collecting the mass, explored into a million little pieces upon impact and they too potentially gathering more mass a vicious cycle that never sees the end.
The greater component of the installation is made of clothing which has become a defining factor of who we are and who we want the world to see so the self is extended from inner truest self to the out clothed self; an image that matter most to those that see us.
Since through the years of our existence we keep changing cloths like masks so does out attacked identity remain an elusion; “The phantom of self” so to say. -
Lifebouy

Lifebuoy, 2019
Bronze Sculpture
This monumentalized lifebuoy seeks to question rescue or aid extended at “Arms length”
A conversation with a Veteran “aid worker” who seemed to have this very strong sense of self-importance but also belief that being in the middle of catastrophes rendering aid gives complete meaning to his whole existence made me question the very logic of aid; who really benefits from aid? Is it like those quick fixes by a drag addict whom keeps coming back for more becoming solely dependent? In the case of the Aid worker, on the continued misfortune of others so his life could still be meaningful?
The Lifebuoy is thrown out on a leash, it is logical, and it’s the only way you will successfully bring somebody in. I suppose the same logic could b applied to aid, isn’t it given on a leash that creates a cycle of total dependence? Where one keeps coming for more but also on the part of the aid worker who keeps feeling a sense of worth… -
Skins 2

About Skins 1 and 2
The Skins project is one of my longest, if not the longest. It explores how visible physical characteristics can influence an individual and society regarding self-awareness. Even though skin color has been a controversial, contested, and often glorified aspect of one’s identity, it doesn’t define a person’s character. However, have we ever pondered over the seams and threads that hold these ‘skins’ together? These are the very sources of the hybrid nature of all. -
Skins 1

About Skins 1 and 2
Skins 2 and 1 are montages of cow leather brought together by winding threads that successfully negotiate each piece’s flaws to realize a unified whole. It’s a union of purpose, a union of uniquely individual pieces, some of which redistribute bits and pieces to fill up holes in others to eventually realize a unified and complete whole, a metaphor that reflects on each of us. Skins 2 is made of ‘Zambian animals,’ while Skins 1 is made of ‘Norwegian animals.’
Note: Skins 1 was recently acquired by the National Museum in Oslo -
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