the watering hole as arts institution & playing the fool
Thenjiwe Niki Nkosi's gymnasts on performance and negation
claywork as earthwork, memory-work & play
hydro-logics: unfurling selves, contagious bodies
a love letter on the occasion of Smith's farewell
Musa N. Nxumalo captures the ball uncaptured
how might the art world rebuild solidarity?
Frances Goodman's cosmetology of the sensual & abject
Scum Boy's queer CGI worlds corrupt the digital
Simphiwe Buthelezi's icansi are metaphors for shelter
Sepideh Mehraban's carpets remember forgotten history
Marlene Steyn's living water paintings
future dreams & spell-casting at the Stellenbosch Triennale
Carol Ann Gainer's pharmaceutical art
making fun of / with Mitchell Gilbert Messina
an ethics of witnessing for the Quiet Violence of Dreams
a self-examination of the myth of America
Stacey Stent's cartoons critique the white left
Cape Town's queer underground club utopia
chronology as a poetics of archive
everything is text in 'acts of reading'
Marinella Senatore's confused revolution
looking & being looked at in 'about face'
artists rename history in 'the past was waiting for me'
un-choreographed performances of a sound exhibition
MPW retrosepctive reads archive against the grain
theorizing the studio sale at 'shooting birds'
the viewer becomes houseguest with Jabulile Newman
ritual, ceremony & decorum in a queer congregation
navigating intimacy & boundaries in 'close encounter'
an acknowledgement of painting as an unresolved category
Ashley Walters's eye for limits, concealments & traps
Katharien de Villiers boycotts clear understanding
rethinking video art in a highly videoed world
Maurice Mbikayi's present apocalypses