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Vusumzi Nkomo

A review by Vusumzi Nkomo

Radical (anti)citizenry: Meschac Gaba’s ‘Citoyen du Monde’

A review by Vusumzi Nkomo

History is happening: ‘The thing itself exists everywhere’ at blank projects

A review by Vusumzi Nkomo

The Time of Waiting: Senzeni Marasela’s ‘Waiting for Gebane’

A review by Vusumzi Nkomo

Carving Otherwise Futures: Jackson Hlungwani’s ‘Alt and Omega’

A review by Vusumzi Nkomo

New Lands: Asemahle Ntlonti’s ‘Nothwala impahlana’

A review by Vusumzi Nkomo

Black to the Fullest: Musa N. Nxumalo’s ‘We Are Running Out Of Hashtags!’

A review by Vusumzi Nkomo

Portals to the Source: Pitika Ntuli’s ‘Azibuyele Emasisweni’

A review by Vusumzi Nkomo

Ontological Recuperation: ‘Authenticité’ at Goodman Gallery

A feature by Vusumzi Nkomo

The Fantastic Trio: Simphiwe Ndzube, Nicholas Hlobo, and Pamela Phatsimo Sunstrum

A review by Vusumzi Nkomo

Multiplicity of Knowing: Mawande Ka Zenzile’s ‘Udludlilali’

A review by Vusumzi Nkomo

Defending Life: Barthélémy Toguo’s ‘Bilongue’

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Copyright © 2020 • ArtThrob

Design by Blackman Rossouw

Penny Siopis, Shame Pools, 2004. A three plate, colour etching with collaged found plastic objects on 300 gsm BFK Rives paper, 87 x 39.5 cm

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