Features

The Melrose Gallery presents Jean-David Nkot's solo show Corps de P@ges. Jean-David Nkot is above all, at least for the moment, a painter. His work, even when it contains elements of abstraction, is essentially figurative, obsessed with the body and its representation.

Catch Stephen Welz & Co's auction from 21 - 24 November 2022.

David Mann explores the benefits writers gain from the collaborative and generative act of welcoming visual art into their narratives.

MADEYOULOOK brings together a selection of artists and projects form documenta 15 for a series of talks, workshops, screenings and listening sessions on the subject of land.

Everywhere, it seems, abstraction is the resurgent signifier. How so? Because we are tired of being told what to see and value? Because ours is a world riven by identity politics, split by extremism on the Left and Right, consumed by the spectre of fascism – by Absolutes.

Is it possible to hold an exhibition with only three paintings? More importantly, can you drum up an audience without disappointing them? Surprisingly, a Joburg-based curator, Clive Kellner, director of the Johannesburg Contemporary Art Foundation (JCAF), has managed to achieve both with the latest exhibition, Kahlo, Sher-Gil, Stern: Modernist Identities in the Global South.

For the first time in its 20-year history, most of the major hand-embroidered tapestries created by the Keiskamma Art Project are being exhibited together in one place: Constitution Hill in Johannesburg.

David Krut Projects and Jillian Ross Print are pleased to present a new body of work. The exciting global collaboration brings together William Kentridge, Master Printer Jillian Ross and the David Krut Workshop, photogravure experts, Steven Dixon in Edmonton, Canada and Zhané Warren in Cape Town, South Africa.

Cape Town Art Residency private view of works by two Zimbabwean artists, Julio Rizhi and Takunda Billiati, is worth the privilege. Installed in a newish  artists residency in Woodstock, Cape Town.

Though a weariness with portraiture has set in, in the wake of the genre being so widely adopted by African artists, a large exhibition of Dumas’ works in Venice brings into focus the necessity to reclaim images and look beyond the surface of them.

A brand new indoor and outdoor art event is coming to Johannesburg in May next year. And it’s one you don’t want to miss.

As a leading expert in Contemporary Art from Africa and the diaspora, Kimberley Cunningham chats to Latitudes about the Reshape 22 annual, online survey exhibition.

Buffer Zones meditates the excruciating destruction of the landscape and its ability to rehabilitate itself after years of institutional surveillance.

Now that the rush to buy textile-based art has somewhat abated those who are making strides with this medium are easier to spot and appreciate.

Rand Merchant Bank (RMB), a leading African corporate and investment bank, has partnered with Latitudes, the largest online marketplace for art from Africa. Together, RMB and Latitudes are bringing an innovative new indoor/outdoor art experience to Johannesburg.

Asian art markets rival western ones. Yet links between Africa and Asia seem to be only gradually taking shape, and doing so in institutional rather than commercial spheres.

Yana Barinova recently joined the viennacontemporary team as a Development Officer approaching the main statement this year: Ukraine. They discuss the importance of cultural heritage, Barinova's professional breakthroughs and the impact of war on the Ukrainian art and social sector.

Since relocating to Ireland in December of 2019 and returning to South Africa in July of 2021, Hobbs’ practice has undergone a significant revision; where his approach to art making – while remaining within the conceptual realm of aesthetics and war, psychology and the body, art and architecture – was tested by the hard lockdowns experienced in rural Cork.

Working on different continents allowed Cinthia Sifa Mulanga and Jillian Ross to generate a considered series of prints that distill the essence of her art.