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Nkgopoleng Moloi

A review by Nkgopoleng Moloi

Abstractions of home: ‘Home Strange Home’ at WITW X KRONE

A review by Nkgopoleng Moloi

Cortège, Collision, Composure, Ceremony: Shine Shivan and Jane Alexander in ‘Juxtapositions’

A feature by Nkgopoleng Moloi

Compositions that Sing: A Tribute to Louis Khehla Maqhubela (1939–2021)

A review by Nkgopoleng Moloi

Beauty and Prisons: ‘I have made a place’ at Norval Foundation

A review by Nkgopoleng Moloi

Wetting and Drying: ‘Fathom’ at Goodman Cape Town

A review by Nkgopoleng Moloi

Movable Archives: Serge Alain Nitegeka’s ‘Lost and Found’

A feature by Nkgopoleng Moloi

Sitting Together in the Darkness: Lindokuhle Sobekwa, Covid and Anxiety

A review by Nkgopoleng Moloi

Deep Seeing: ‘on sight: looking does not mean seeing’ at Michaelis Galleries

A review by Nkgopoleng Moloi

The Mind of the Stairs: ‘La courte échelle’ at Goodman Gallery

A review by Nkgopoleng Moloi

It is what it is: ruby onyinyechi amanze’s ‘the ones that stayed’

A feature by Nkgopoleng Moloi

The sea is the theatre upon which the drama unfolds: John Akomfrah, Paul Maheke, Buhlebezwe Siwani, ruby...'

A review by Nkgopoleng Moloi

The collection and its limits: ‘We’ve Come to Take You Home #1’ at Michaelis Galleries

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Clive van den Berg, Cyber Erotics, 2009. A two colour lithographic print on BFK Rives, 66 x 52 cm

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