24 August 2018, The Director of London’s ICA, Stefan Kalmár, on why publicly funded institutions must respond to the emergencies defining our world today.
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23 August 2018, Amy Ellenbogen sits down with ArtThrob to provide the inside scoop on her curatorial vision for this year’s fair.
24 August 2018, Kopano Maroga writes about Dineo Seshee Bopape’s Untitled (Of Occult Instability) [Feelings] at the KW Institute for Contemporary Art as part of the 10th Berlin Biennale.
24 August 2018, Adams’s artworks have a compelling sense of incompleteness, as the viewer is pressed to consider what is missing within his representations by Kealey Boyd.
23 August 2018, Chloe Stead looks at conference at the Salzburg Summer Academy which demonstrated the contentious issues at stake when dealing with the legacy of colonialism – and possible ways forward.
24 August 2018, Susanne von Falkenhausen on this summer’s 10th Berlin Biennale, Manifesta 12 and the future of biennials.
23 August 2018, Sindika Dokolo speaks to COLLECTOR. following the recent official restitution to the Angolan State of five pieces of art from the national collections of the Dundo museum.
23 August 2018, Billie Zangewa speaks to Art Africa about the FNB JoburgArtFair, “resisting persistence”, and the delicate strength of silk.
August 2018, Sory Sanlé’s potent portraits of West African youth culture in the 1970s captured Burkina Faso at a pivotal moment of emergence. Now in his 70s, the photographer has been living in relative obscurity, an unsung bastion of Voltaic photography’s golden age – until now. By Tom Seymour.
8 August 2018, Anna McNay speaks to Thierry Oussou on the occasion of his exhibition Timelines at Tiwani Contemporary.
17 August 2018, Alina Cohen looks at the work of Zanele Muholi on the occasion of a new monograph by Aperture, Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness.
18 August 2018, Louis Bury reviews Sedimentations: Assemblage as Social Repair at The 8th Floor in New York. The exhibition includes work by El Anatsui.
14 August 2018, Raison Naidoo reviews A Silent Line, Lives Here, at the Palais de Tokyo.
16 August 2018, Debra Brehmer looks at the current William Kentridge exhibition at the Milwaukee Art Museum, More Sweetly Play the Dance and how interesting it is that the artist envisioned the cage as the equivalent of a piece of luggage or a goat, something that we cannot leave behind.
August 2018, Marthe Van der Wolf spoke to the Vintage Addis Ababa collective, consisting of Philipp Schütz, Wongel Abebe and Nafkot Gebeyehu, about their aim is to preserve fragile historical resources by telling the stories of everyday people from Addis Ababa’s history.