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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’

A feature by Artthrob

Venice Biennale 2017: ArtThrob talks Installation with Brendan Copestake

William Kentridge Back Flip, 1991. Lithograph
A feature by Artthrob

Resale Rights and Sustainability: In conversation with Aspire Auctions

Lucy MacGarry
A feature by

Tim Leibbrandt

Venice Biennale 2017: ArtThrob chats to South African Pavilion Curator Lucy MacGarry

Sanell Aggenbach Elysium, 2017. Oil on canvas, 100 x 127 cm
A review by Felix Kawitzky

Trace Decay: Sanell Aggenbach’s ‘Bend to Her Will’

Dorothee Kreutzfeldt, extensions to the lot line 1, 2017. Acrylic and mixed media on canvas, 140 x 180 cm
A review by Quanta Gauld

Constructed Cities: Dorothee Kreutzfeldt’s ‘Extensions to the Lot Line’

Mikhael Subotzky WYE, 2016. Three-channel video installation
A review by Lwandile Fikeni

Manufacturing Otherness from Within: Mikhael Subotzky’s ‘WYE’

Johannesburg’s Apartheid Museum, with the new art gallery jutting into the skyline on the right.
A feature by Sue Williamson

Sue Williamson’s Diary: John Berger and the Apartheid Museum

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