ArtThrob – Contemporary Art in South Africa

Mutants, Matronae and Monsters:

Pélagie Gbaguidi’s ‘The Colours are the Bark’

Insight

A review by Ashraf Jamal

Undivided Divinity: ‘Willem Boshoff: Assemblage and Collage’ at the Villa-Legodi Centre for...'

A review by Misha Krynauw

Divine Histories: Lady Skollie’s ‘GROOT GAT’ at Norval Foundation

A review by Zada Hanmer

Collective Memory: Sue Williamson’s ‘Short Stories in a Longer Tale’

A feature by Claudia Marion Stemberger

Just Be: MADEYOULOOK at the 60th Venice Biennale 2024

A review by Margot Dower

Opening the Archive: Gavin Jantjes at Whitechapel Gallery

A review by Georgia Munnik

Echoes of the Past: Untold Intimacies in ‘Seasons of Longing’ Film

A review by Ashraf Jamal

Spirits on a Human Path: ‘Ecospheres’ at the Joburg Contemporary Art Foundation

A review by David Mann

Sentimental assemblages: Stephané Conradie’s ‘Wegwysers deur die Blinkuur’

A feature by Robert Hamblin

Art and Athleticism: A reflection on the Olympics

Things We Like

Best of 2023: Contributors’ picks

Editor’s Picks: FNB Art Joburg 2023

Editor’s Letter: 25 Years of Art Writing in South Africa

Student Reviews

Sonic guides: Tracey Rose’s ‘Shooting Down Babylon’

Frame & Reframe: Johannes Phokela’s ‘Only Sun in The Sky Knows How I Feel (A Lucid Dream)’

Exploration of the self: Georgina Gratrix’s ‘The Reunion’

Walter Oltmann, Lace. Etching on Hahnemuhle paper, 78.5 x 53.5 cm

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