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insight_

A review by Lucienne Bestall

Pretty Vacant: ‘New Romantics’ at Barnard Gallery

A review by Nolan Stevens

Binary Coded: ‘POSTDIGITAL’ at Kalashnikovv

A review by Kopano Maroga

A Subtle Benediction: Igshaan Adams’ ‘Al Latîf’

A review by Isabella Kuijers

Not Blue Enough: Ghada Amer & Reza Farkhondeh’s ‘Love is a Difficult Blue’

Vivien Kohler, FRGL, 2017. Material One, pigment, spray paint, acrylic and oil, 125 × 125 × 9 cm
A feature by Nolan Stevens

Out The Box: A Profile of Vivien Kohler

El Anatsui, Horizon,, 2016. Installation View: Goodman Gallery, Johannesburg
A feature by Tymon Smith

Bringing it Home: Curator Bisi Silva on El Anatsui’s ‘Meyina’

A review by Kopano Maroga

The Crown Ain’t Worth Much but I Got It from My Momma: Athi-Patra Ruga’s ‘Queens in Exile’

A feature by

Chad Rossouw

The Crumbling Edges: In Conversation with Virginia MacKenny

Masixole Feni Cape Town: A pool of water reflecting shack houses after a heavy rain over the Weekend, in Mfuleni Informal Settlement, 2015
A review by Nolan Stevens

Amplified Eye: Masixole Feni’s ‘Drain on our Dignity’

A review by Tymon Smith

Action/Reaction: John Murray’s ‘Aftermath’

A review by

Tim Leibbrandt

Resin and Wonder: Kiluanji Kia Henda’s ‘In the Days of a Dark Safari’

Michele Mathison Intrusion, 2017. Pallisandro marble
A review by Isabella Kuijers

The Movement of Stone: Michele Mathison’s ‘States of Emergence’

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Ashley Walters, Construction. Giclee print on cotton rag, 29.7 x 42 cm

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