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A review by Isabella Kuijers

May Contain Trace Elements: Herman Mbamba and Cameron Platter’s ‘FR1000ID’

A review by Misha Krynauw

Intense Introspection, Uncanny Simplicity: Thandiwe Msebenzi and Bert Pauw at SMITH

A review by Gemma Hart

Deadly Tranquility: Olivié Keck’s ‘Drop Dead Gorgeous’

A review by Keely Shinners

Sculptural listening: ‘The Listening Room’

A review by Nkgopoleng Moloi

Shifting Cartography: ‘A Black Aesthetic’

A feature by Christa Dee

Curatorial Care: A profile of Khumo Sebambo

A review by Ashraf Jamal

Consoling Pleasures: Stephané E. Conradie’s ‘Domestic Lives, Nomadic Belongings’

A picture collection by Artthrob

Art-Binge: Joburg, March 2019

A feature by Sue Williamson

He Takes Libraries With Him: A Personal Remembrance of Okwui Enwezor

A review by Tymon Smith

Flâneurial Creations: Samson Kambalu’s ‘Nyasaland Analysand’

A review by Isabella Kuijers

Catching the Wind: Yinka Shonibare’s ‘Trade Winds’

A review by Annemi Conradie

Staging Authenticity: Robert Slingsby’s ‘In/Dependence’

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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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