Features
A collection of stories, featured arts and events from our editorial desk
2022
Entry view of dot.ateliers (© Edem J. Tamakloe/ courtesy of dot.ateliers)
Space of Interest
On enabling continental cross pollination
with dot.ateliers
HeVi, Oslo, 2016. Silver gelatin print. 100 x 75.5cm. Edition of 8 + 2AP (Courtesy of STEVENSON.)
First Person
Portraiture as self love
with Zanele Muholi
Githan Coopoo. Aunty’s Favourite, 2023. Clay and acrylic. 22 x 17 x 8cm. (© Githan Coopoo/ courtesy of Everard Read)
Githan Coopoo. Aunty’s Favourite, 2023. Clay and acrylic. 22 x 17 x 8cm. (© Githan Coopoo/ courtesy of Everard Read)
Re:View
Desi Casual Glamour as a critical site of validation
with Githan Coopoo
Gregory Olympio. Confluence (left), 2022. Acrylic on canvas. 100 x 81cm (detail).(Courtesy of Gregory Olympio and blank projects.)
Re:View
Staying inside the line
with Gregory Olympio
Bonolo Kavula. Tshenelo, 2022. Punched Shweshwe and thread. 75.6 x 55cm. (Courtesy of Norval Foundation)
First Person
Making art to heal the self
with Bonolo Kavula
Nokukhanya Charity Vilakazi. Ibomvu & Acrylic on Canvas. 590 x 465mm. (Courtesy of Kalashnikovv)
Nokukhanya Charity Vilakazi. Ibomvu & Acrylic on Canvas. 590 x 465mm. (Courtesy of Kalashnikovv)
Artist of Interest
"I'm doing this for the matriarchal gaze"
with Nokukhanya Charity Vilakazi
Installation view: Katlego Phethle. Reunion, 2021 and Kyle Strydom. Portal Series, 2022. (Photograph by Mikhailia Peterson courtesy of Fede Arthouse)
Initiative of Interest:
Making this Fede Arthouse a home
with Lebo Kekana
Sungi Mlengeya. Constant 3, 2019. Acrylic on canvas. 140 x 140cm. Courtesy of Afriart Gallery. (Photo by Dillon Marsh)
First Person
'This exhibition is a declaration of love to painting'
with Koyo Kouoh
Ba Dum Tssshhh, by Cameron Platter
Cameron Platter. Ba Dum Tssshhh, 2022. Pencil on paper. Triptych. 170 x 136cm, each panel. (Photographed by Hayden Phipps Courtesy of WHATIFTHEWORLD)
Re:View
‘Cities have a lot to say’ so we listened
with Carlos Garaicoa
Ruth Ige. Power, 2022. Acrylic on canvas. 61.5 x 51cm. (Courtesy of STEVENSON.)
Title of Interest:
The colour and form of diasporic navigations
with Ruth Ige
Bonolo Kavula. Dikeledi, 2022. Punched Shweshwe and Thread. 68 x 58 cm. (Image courtesy of SMAC Gallery, copyright Bonolo Kavula)
Re:View
Rest, expansion and tender landings
with Bonolo Kavula
Ba Dum Tssshhh, by Cameron Platter
Cameron Platter. Ba Dum Tssshhh, 2022. Pencil on paper. Triptych. 170 x 136cm, each panel. (Photographed by Hayden Phipps Courtesy of WHATIFTHEWORLD)
Re:View
Ba Dum Tsssh delivers more than a punchline
with Cameron Platter
A Century of Black Figuration in Painting, 2022, Zeitz MOCAA. Photograph by Dillon Marsh, courtesy of Zeitz MOCAA
Re:View
"When We See Us is a declaration of love to Black life"
with Koyo Kouoh
Turiya Magadlela. Jesus Walking in Water I, 2018. Nylon and cotton pantyhose on canvas. 150 x 150 cm.
Conversation of Interest:
Three hours
with Turiya Magadlela
Pieter Hugo. Shaun Oliver, Cape Town, 2011. C-print. (Courtesy of Stevenson)
Re:View
“I don’t take pictures, they’re given to me”
with Pieter Hugo
View of the exhibition Globalisto. Stevenson Gallery, Cape Town, South Africa. (Photo credit: C. Cauvet / MAMC+)
Re:View
"Globalisto. A Philosophy in Flux considers alternatives"
with Lukhanyo Mdingi
Film still from Sohrab Hura, ‘ The Coast’, 2020 (© Courtesy of Zeitz MOCAA)
Theme of Interest
"Indigo Waves and Other Stories"
with Ravelle Pillay
Ruth Ige. A gentle soul, 2022. Acrylic on canvas. 122 x 84cm. (Courtesy of STEVENSON)
Re:View
"When Ruth Ige met Freedom"
with Ruth Ige
Georgina Gratrix. Irma’s Two Nudes Jub (167), 2022. Oil on Canvas. 40 x 30 cm
Title of Interest
Join the Cult of Ugliness
with Georgina Gratrix
Bonolo Kavula. I lost you, 2022. Punched Shweshwe and thread. 37 x 62 cm. (Courtesy of Norval Foundation)
Re:View
You will see what you want to get
with Bonolo Kavula
Zanele Muholi. Bona II, Charlottesville, Virginia, 2015. Silver gelatine print. 29 x 50cm. Edition of 8 + 2AP. (Courtesy of STEVENSON)
Conversation of Interest
"People can choose to forget but the photograph cannot"
with Zanele Muholi
Raymond Fuyana. The night dream II, 2022. Acrylic and oil on canvas. 84.2 x 60 cm (Courtesy of Guns & Rain)
Practice of Interest
"A dive into Raymond Fuyana’s Lucid Dreams"
with Raymond Fuyana’s
Yolanda Mazwana. The ascertainable line inside, 2022. Dry pastel, enamel paint and acrylic paint on canvas varnished in gloss. 1600 x 1400mm. (Courtesy of Kalashnikovv)
Re:View
"Otherworldly femme at rest"
by Yolanda Mazwana’s
Serge Alain Nitegeka. Displaced Peoples in Situ: Studio study XII, 2022. Acrylic and charcoal on wood. 166 x 166 cm. (© Copyright 2022, STEVENSON. All rights reserved)
Re:View
"The resistance to settle"
with Serge Alain Nitegeka
Baz Bailey. Ndoda and Child, 2022. Photograph on archival paper. 90,8 x 124cm. (Courtesy of artist)
Practice of Interest
Isilimela: Planting of a New Man
with Baz Bailey
Lebohang Kganye. Untitled 10, 2011. Inject print on cotton rag paper. 59.4 x 84.1 cm (Courtesy of artist)
Re:View
A Venice Vox
with Lebohang Kganye + Valerie Kabov
Portrait of Athi-Patra Ruga at the Irma Stern Museum (Portraits by Luke Doman)
Exhibition of Interest
An Irma Stern intervention
with Athi Patra-Ruga
2021
First Person Series: Teresa Kutala-Firmino
First Person Series: Teresa Kutala-Firmino
First Person is an intimate video-based series by FNB Art Joburg where artists offer personal accounts of their platforms, practice, process, and upcoming projects.
In this inaugural episode Teresa Kutala-Firmino walks us through the premise for her upcoming series The Owners of the Earth. An artist considering magic realism through paint and collage, the series sees her offering fantasy as an escapist response to trauma, a means to cope, heal and somehow survive the impossible.
Construct Series
Construct Series
Institut Français Afrique du Sud (IFAS) and FNB Art Joburg are delighted to present CONSTRUCT: a series focused on woman artists working in Joburg across all mediums.
Just as “construct” may refer to the physical act of building or making, a construct can also refer to a concept; one formulated without empirical evidence that therefore does not necessarily reflect the lived reality. In this way the series explores both the identity and gender constructs female identifying artists navigate through their work as well as the physical practice of each artist.
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