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Here's a brief glimpse into what’s been happening outside the formal gallery system.

"One of my favourite takeaways from this year’s ICTAF are found in the textile works of women artists who carefully explore the everyday through the work of their hands."

Red carpet events, flashy outfits and celebrity status surrounded the opening of Zeitz MOCAA When We See Us. Beneath the fanfare was an exhibition centred on the simple joys of life.

Celebrating a decade of magnetising galleries from all corners of the continent and beyond in the past, this iteration will explore the notion of time. Chaze Matakala is curious to hear from the different regions on the artists of the moment and the future of contemporary African art.

Climate activists threatened to vandalise masterpieces to turn attention to what our society values. Did this have the desired effect and what did it reveal about what kind of art and artists are valued and how climate activists view art institutions?

Since AI and the digitisation of art marketing have impacted art production and dealing, how have collectors benefitted?

With surprisingly limited local media coverage, 2022 marked some extraordinary moments for Black women artists from South Africa.

Dora Dalila Cheffi, a Finnish-Tunisian artist, belongs nowhere. We meet at the artists studio at the Cape Town Art Residency to discuss her self-portraits. A tall mirror is a striking studio tool. There, reversed, the artist sees herself.

The Swiss-English artist, Lawrence Calver, is in love with Rothko, though he is no painter. Sewing, dyeing, bleaching, are the integral elements in the creation of his art.

It is somewhat of an old-school notion that art must keep us in tune with the times. Art has equal value and sway when it channels utopias, and idylls. 

When Norwegian-based Zambian Artist Victor Mutelekesha began to conceive of a space that would function as a repository of the arts, it naturally followed that LuCAC would become a station that highlights the multiplicity of cultural identities present in the capital city.

Adesola Yusuf (Arclight) is a 25-year-old multidimensional artist from Lagos, Nigeria. His visually expressive work takes inspiration through the ages, from renaissance art, to modern minimalist, pop and internet art.

The book Mihloti ya Ntsako – Journeys with the Bongi Dhlomo Collection, is both a chronicling of a collection and a biography of its collector, the accomplished artist, curator and arts administrator, Bongiwe Dhlomo-Mautloa, better known as Ma Bongi Dhlomo.

"I spent a lot of time thinking about what it meant for artists to make, in a continuously disorienting world that is hungry for things that are bigger, better, faster, newer and shinier..." - Nkgopoleng Moloi

Based in Cape Town and entirely self taught, South African artist Jono Dry has worked for the last thirteen years on creating a practice centred around his large-scale hyperrealist graphite works.

The Social Impact Arts Prize awards artists who situate their practices in socially concerned conditions ranging from the environment and climate change to human relations and social pressures of an unequal society. Read about the 2022 winners.

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

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.