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A review by Amie Soudien

Invisible, Intangible, Insensible: Barbara Wildenboer’s ‘The Invisible Gardener’

Swain Hoogervorst, Incomplete (Forest) III, 2017. Oil on Canvas
A review by Isabella Kuijers

Ends and Means: Swain Hoogervorst’s ‘Searching Eudaimonia’

Musa N. Nxumalo, Isigxagxa I, 2017. Gicleé print on Hahnemühle Photo Rag
A review by Philiswa Lila

Stranded Action: Musa N Nxumalo’s ’16 Shots’

A news item by Artthrob

Venice Biennale | Part 3

Tabita Rezaire, DEEP DOWN TIDAL(still), 2017. Hd video, 19min. Commissioned by Toke Lykkeberg for Citizen X – Human, Nature, And Robot Rights, Oregaard Museum, Denmark
A review by Motlatsi Khosi

Digital Utopia: Tabita Rezaire’s ‘Exotic Trade’

The entrance to the Giardini
A news item by Artthrob

Venice Biennale 2017 | Part 2

The MAC-VAL Museum
A feature by Sue Williamson

Sue Williamson’s Diary: Paris in the Springtime

One of the super-yachts lined up on the Riva dei Sette Martiri, on the way to the Giardini.
A news item by Artthrob

Venice Biennale 2017 | Part 1

Viviane Sassen, Gallopp, 2017. Archival pigment ink and collage on Baryta paper
A review by Gontse Mathabathe

Unsettling Fecundity: Viviane Sassen’s ‘Of Mud and Lotus’

Jessica Webster, Untitled: Layla - diptych, 2017. Wax and oil on canvas
A review by Amie Soudien

The Sanctuary Disturbed: Jessica Webster’s ‘Wisteria’

Rebecca Haysom, Untitled (Steeple Leg), 2017. Collage on paper
A review by Nicola Kritzinger

The Cutting Room Floor: Rebecca Haysom’s ‘The Tiger’s Bride’

Coby Kennedy, The Coming Of The Thuggernaut, 2017. Bulletproof ballistic grade Kevlar, ink, acrylic gel, 114 x 125 cm
A feature by

Tim Leibbrandt

Sci-Fi Social Commentary: Coby Kennedy on ‘SKIN OF THE THUG’

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Candice Breitz, Ex Libris South Africa. Cibachrome photograph, 24 x 60 cm

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