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Sep 8, 2024 | 
mg.co.za | Nkgopoleng Moloi
In an intimate and playful offering What Her Body Does brings together paintings and ceramic sculptures, subtly teasing at the thread of desire, the feminine and explorations of self. The first major solo exhibition by Yolanda Mazwana at Kalashnikovv Gallery in Cape Town, What Her Body Does is a significant milestone for the artist who assembles a chamber of drama and humour through sensual bodies floating in space. The palette is deliberately restrained, largely red.
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Jun 4, 2024 | 
yourluxury.africa | Nkgopoleng Moloi
The African art market demonstrated remarkable resilience in 2023, weathering global economic challenges through stability and potential growth —standing firm against the headwinds of a softer global art market.
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Apr 29, 2024 | 
artnews.com | Nkgopoleng Moloi
In 1989 Esther Mahlangu (b. 1935)participated in “Magiciens de la terre” at the Pompidou Center in Paris. One of the first exhibitions to mingle artists from across the globe, it remains influential—largely for the troubling issues it raised.
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Apr 10, 2024 | 
yourluxury.africa | Nkgopoleng Moloi |Norma Young
“Language carries culture, and culture carries, particularly through orature and literature, the entire body of values by which we come to perceive ourselves and our place in the world.” – Ngũgĩ wa Thiong’oAndile Dyalvane’s practice is a profound exploration of the isiXhosa tradition, deeply rooted in symbols and gestures that speak to his cultural heritage. Through the language of clay, his work is a meticulous blend of the traditional and the contemporary.
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Apr 9, 2024 | 
artforum.com | Nkgopoleng Moloi
Under the sound of a Chichewa hymn, hands slowly dip into water; they scrub and dry, engaged in a sacred practice. This Gladys Kalichini work, . . . these practices are done in sharing her stories, 2020, is a four-channel video projection wherein women, wrapped in chitenge cloth, wash each other’s hands and feet, reflecting caring rituals and oral histories passed down between generations.
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Feb 28, 2024 | 
yourluxury.africa | Nkgopoleng Moloi |Monica Malan
It is a punishingly hot day in Cape Town when I catch Lukhanyo Mdingi over a Zoom call. I’m in the blistering heat while he is in the more temperate Paris on a work trip following his AMIRI Prize win. Although he is on a series of work trips in Europe when we speak, I don’t miss the opportunity to ask him about his home base. “I love Cape Town. I love its sensibility and the community I have been able to create during my time here. It is home,” he says. Lukhanyo speaks softly with deliberate pauses.
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Feb 13, 2024 | 
yourluxury.africa | Nkgopoleng Moloi |Monica Malan
In 2019, writer and curator Antwaun Sargent published the book The New Black Vanguard: Photography between Art and Fashion. In it, he defined vanguards as those who create a condition “that is inclusive and reflective of a wider world” while expanding notions of agency. This sensibility is evident in the philosophies upheld by the five Capetonians I interviewed in the lead-up to the city’s most vibrant art world calendar event — the 2024 Investec Cape Town Art Fair.
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Feb 7, 2024 | 
yourluxury.africa | Nkgopoleng Moloi |Monica Malan
Nkgopoleng Moloi: It’s probably very busy at the moment — I appreciate you taking the time for this interview. Folakunle Oshun: Compared to the beginning of the Biennial, when it was founded in 2017, this edition is on a larger scale. And so it’s more demanding mentally, physically, especially that human relations element – having to work with so many people to build something. NM: Can you tell us about the scale of this year’s edition?
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Dec 13, 2023 | 
yourluxury.africa | Nkgopoleng Moloi |Monica Malan
With an acute focus on self-expression, Cinthia Sifa Mulanga elegantly employs paint, charcoal and paper to tease out the complexities of Black womanhood. In practice for under five years since completing her training at Artist Proof Studios in Johannesburg, Mulanga has amassed somewhat of a cult following.
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Dec 13, 2023 | 
litnet.co.za | Tracey Saunders |Nkgopoleng Moloi
This mentor feedback is part of the LitNet | STAND theatre review workshop. The ten participants each submit a review to the workshop mentors for feedback. The participants will then be able to edit their submissions, receive additional feedback from the mentors and finalise their reviews. This is the final feedback on version 2 of Kwanele Nyembe’s review. Feedback from Tracy SaundersThe edit has taken much of the feedback into consideration, and the outcome is a far more robust piece of writing.
