With Hybrid Spirit, Adejoke Tugbiyele proposes a visual language that explores the intimate connections between queerness, Indigenous African spirituality, and feminism.
LGBTQ Pride month is now. Every day in June, we are celebrating the community by featuring one queer art worker and asking them to reflect on what this moment means to them.
In a public gesture of solidarity, artist Candice Breitz asked that her video installation, on view in a separate exhibition at the same art center, be removed and replaced by a #SayHerName sign.
At the Iziko Slave Lodge in Cape Town, an exhibition gives voice to a group of women whose lives were written out of history because they were considered too marginal to bother with.
Claudette Schreuders’s most recent show at Jack Shainman gallery, In the Bedroom is perhaps both her most revealing and most enigmatic body of work to date.
The head of Johannesburg’s Market Photo Workshop and an artist who studied there discuss the medium’s impact on how South Africans remember their pasts and picture their futures.
On March 23, UnionDocs is showing the latest version of a still-in-progress documentary Martha Rosler filmed in South Africa in 1990.
One of the most prominent aspects of artist Zwelethu Mthethwa’s trial has been a group of (mostly) women who’ve demonstrated outside the courthouse for the last two years, dressed often in orange and holding handmade signs.
After two years of postponements, the trial of artist Zwelethu Mthethwa finally got underway last week in Cape Town. Mthethwa pleaded not guilty to the murder of a woman named Nokuphila Kumalo.
Editor’s note: The article was written by Omar Barghouti, who is a founding committee member of the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI). PACBI is a member of The Boycott, Divestment & Sanctions Campaign National Committee (BNC). This article is the fourth in a continuing series exploring BDS and its connection to the art world.
Long-lost between two reefs off the coast of Cape Town, South Africa, are the fragmented remains of a Portuguese slave ship, now identified centuries later as the first known wreck of its kind.
Catherine Taylor’s book centers on her search — what feels like an obsessive search — through veins of history buried in the time of apartheid in South Africa, where she and her family are from.