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Mediator of curiosity:

Mawande Ka Zenzile’s ‘Nqanda nanga’manzi engene’ndlini’

Insight

A review by Georgia Munnik

Monstrous Elasticity: Ruth Sacks’ ‘The Remaindering’

A review by Misha Krynauw

Rot and rebirth: ‘Spring Awakening’ at Southern Guild

A review by Dinika Govender

Material is the message: Nina Barnett & Jeremy Bolen’s ‘Weight in the Air’

A review by Lumumba Mthembu

Hybridity & the politics of the self: ‘Nguni – Kwelakithi’ at KZNSA

A review by Annabelle Wienand

Speculative fiction and speaking in signs: Mack Magagane’s ‘Ellipse’

A review by Isabella Kuijers

Images of shared history: ‘Photo book! Photo-book! Photobook!’ at A4

A review by Barbara Rousseaux & Sindi-Leigh McBride

Testimony & activism: ‘When Rain Clouds Gather: Black South African Women Artists 1940 –...'

A feature by Misha Krynauw

Moments before meaning: A conversation with Lerato Shadi

A review by Sean O'Toole

Raw materials make magic: Bella Knemeyer and Unathi Mkonto

Things We Like

Spotlight on Investec Cape Town Art Fair: ArtThrob writers weigh in

Spotlight on SOLO artists at Investec Cape Town Art Fair

Spotlight on Investec Cape Town Art Fair Digital Event 2021

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’

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

Athi-Patra Ruga, ...elipsis in three parts. Body paint on Rives cotton paper, 65 x 50.5 cm

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