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Review

A review by Ben Albertyn

The Thick of Things: Archive of Forgetfulness

A review by Misha Krynauw

A home of heavens: Shakil Solanki’s ‘The Pearl Fishers, Reprised’

A review by Ben Albertyn

The Other’s Dress: Joël Andrianomearisoa’s ‘My Heart Belongs To The Other’

A review by Ben Albertyn

I have lived everywhere, mostly on ships: Penny Siopis’ ‘Never The Same Water Twice: Nine Films...'

A review by Nkgopoleng Moloi

Time is an exaggeration: ‘The Future Is Behind Us’ at A4

A review by Annabelle Wienand

The world in one drawing: Jan van Esch’s ‘Mitumba: Invasive Species’

A review by Setumo-Thebe Mohlomi

Inviting good spirits: Buhlebezwe Siwani’s ‘iYeza’

A review by Thuli Gamedze

Perception, Instability: Kamil Hassim’s ‘Event Horizon’ at Number Four

A review by Barnabas Ticha Muvhuti

An ode to women’s protests: Sepideh Mehraban’s ‘Give Me Liberty or Give Me Death’

A review by Ben Albertyn

White People 101: Candice Breitz’s ‘Whiteface’

A review by Anna Stielau

On (Re)generations: Sue Williamson and Lebohang Kganye at the Barnes Foundation

A review by Nkgopoleng Moloi

Reparative sublation: Lungiswa Gqunta’s ‘Sleep in Witness’

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Dan Halter, On Exactitude in Science. Woven archival prints on Ivory Enigma paper, 28 x 19 cm

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