Discover

RMB Latitudes Art Fair invited acclaimed architecture and interior design studio Boogertman + Partners – one of Africa’s largest architectural firms – to design the lounge in the centre court at this year’s fair.

Each year, the outdoor spaces of Shepstone Gardens become the largest exhibition space at RMB Latitudes — an immersive garden of art, nature and discovery. This year, in response to the ever-pressing global climate emergency, RMB Latitudes, The Kingdom of the Netherlands in South Africa and ORMS present a powerful outdoor activation by artists Thirza Schaap and Nina Barnett.

RMB Latitudes Art Fair's Independent Artist Exhibition, AKA: INDEX is a platform to give exposure to independent artists, who often have to create their own networks and methods for getting their work seen by audiences. This year's exhibition is curated by Bonolo Kavula, and titled Invisible Thread.

The art and cultural organization Ora Loapi is spearheading a movement to reshape how Botswana's history is told, employing a strategy known as "flooding the archive."

For RMB Latitudes’ Botswana exposé, operating within an ethos of accessibility, collective engagement can be conceptualised and established through a singular focus on a locale.

The aim of the award is to discover, recognise and nurture a new generation of women-identifying artists from the continent. Apply now.

Bella Knemeyer merges her background in sculpture and landscape architecture to explore urban narratives and material flows.

Diriyah Art Futures (DAF), the Middle East and North Africa’s first dedicated New Media Art hub, has launched in Riyadh, Saudi Arabia to establish itself regionally and globally as an interdisciplinary and innovative hub where art, technology and cultural heritage converge.

Nigeria stands at a pivotal moment of transformation, where a comprehensive view of its socio-economic and cultural landscape is essential. There is a growing call for introspection and alternative approaches to financial resilience, a reevaluation of traditional values, and a shift away from individualism toward collective well-being.

In some way, the presence of a painting on every wall — from the pristine white finish of a gallery to the prehistoric archive of a cave — can be somewhat overwhelming. How has the language of paint transcended race, time, geography and cultural context?

As someone who comes from a creative industry you would think that I would have always been drawn into the art space, but like many others I have always found galleries, let alone art collecting, to be a space which intimidated me greatly.

An innate rapport with the natural world is the heartbeat of works by artist partners and stewards of the earth, Geoffrey Armstrong and Wendy Vincent. Over the past 25 years their Magalies Rock Garden near Hekpooort in South Africa has set the stage for the conception of dream-like works of genius.

A review of Steelwool and Other Paradoxes, the current show at Latitudes Centre for the Arts.

We are thrilled to announce that Xanthe Somers is this year's ANNA Award Winner!

In this exclusive interview, collector Annicia Manyaapelo shares her journey through the art world, as well as invaluable advice on collecting.

Our esteemed selection committee is hard at work deciding on a winner from the 2024 Top 12 Finalists, who we are beyond excited to present to you!

If you peruse the 16 art exhibitions and live programming of the HEAT Festival, you aren't likely to see the names of too many famous artists. The HEAT Winter Arts Festival was not originally tailored for young or emerging artists. This focus occurred organically - as a nascent festival, it made sense to unearth new talent, and a fresh point of view.

It is true that African art is distinctive. This is not because it is peculiarly ‘African’, but because it is intensively responsive to the fallout of slavery, indenture, Empire – matters that persist today.

Many of the works on display at RMB Latitudes Art Fair exemplified the strangeness and charm of the bizarre in a venue so splendidly unorthodox that one might be forgiven for thinking it was designed for the very purpose.

The similarity in all these artists' work was that they allowed the clay to just be “the thing itself” they encouraged it to transcend its practicality, they handled it in its enduring and dynamic nature, they explored its time-based and process-driven element, it pulled them in, and they let it.