Born in 1993 in the former military town of Pomfret in North West, Teresa Kutala Firmino, 31, grew up among former Angolan South African National Defence Force families. These early experiences shaped her understanding of identity, history and postcolonial memory. Teresa is an artist and the director of the BNAP Foundation, as well as the founder of the Teresakutalafirmino Studio. Her work is rooted in story-telling through visual art. Using painting to engage with forgotten or misrepresented histories, particularly those of African women, she reimagines the archive as a space of resistance. Her day begins with admin and gallery meetings, while evenings are reserved for creative work in her studio. She holds a master of fine arts from the University of the Witwatersrand. Among her achievements is the internationally exhibited project The Owners of the Earth — a four-part paint- ing series culminating in her first visual book. This work exemplifies her belief that art can build community and challenge historical silence. Teresa supports emerging artists through the Blessing Ngobeni Art Prize. She draws inspiration from the women in her family, whose lives and stories continue to influence her work.

Read the full article here: https://mg.co.za/200youngsouthafricans/2025/teresa-kutala-firmino/

AKAA – Also Known As Africa – is the first and foremost contemporary art fair in France focused on Africa and its diaspora. Since 2016, the fair has established itself as a key platform for contemporary art, driven by a constant commitment to showcasing the richness, diversity, and vibrancy of African and Afro-descendant artistic expression. KAA offers a space to discover artists who claim a link in their practice with the African continent, whether through their approach or identity, providing a contemporary look at these artistic scenes that goes beyond geographical borders, open to dialogue, discovery and wonder without clichés or preconceptions.

Read more here

In this episode of Art Web Podcast, Richard is joined by a special guest – the talented and thought-provoking artist, Tafadzwa Tega on the occasion of his solo exhibition Matakadya Kare at Everad Read Gallery Cape Town which runs from 5 - 26 March 2025.

Listen to the podcast here: https://afripods.africa/episode/in-conversation-with-tafadzwa-te/c69332b0-fddd-11ef-bb36-174d9eed02be

Among the exceptional, singular and, yes, occasionally awful, artworks in the permanent collection of the South African National Gallery, one work stands out as truly enigmatic.

It is an untitled paper installation principally composed of repurposed cement packaging that Moshekwa Langa found on the streets of KwaMhlanga, the short-lived capital of the KwaNdebele homeland, shortly after finishing high school in 1993

This canonical work appears on the must-see exhibition surveying Langa’s category-resistant practice at A4 Arts Foundation in Cape Town. Titled How to Make a Book, it declares its purpose — there is an in-depth publication on the artist in the works.

The works on show at A4 span the period 1995 to 2018. There are a half-dozen pieces from the 1990s, when Langa emerged — self-taught, fully formed and fax-enabled — on the local art scene. They include Dor, a speculative flag made for a 1998 exhibition in Rotterdam, Holland, as well as his untitled paper installation from 1995.

Three wires running obliquely across the central gallery of A4 display about 20 unbleached fragments of irregularly shaped paper that Langa recycled from discarded cement packaging.

“First you invent the country; then, if you can, an economy,” wrote American journalist Joseph Lelyveld in 1985 of KwaNdebele, a proxy state being built in a hurry. 

Read the full article here: https://mg.co.za/friday/2024-11-04-the-sculptures-where-nothing-is-true-and-everything-is-permitted/ 

Vusumzi Nkomo is an integral part of Cape Town’s small but vital downtown art scene, and possibly one of its key thinkers, too. Trained as a journalist in Gqeberha, South Africa, Nkomo changed tack in 2021 when he enrolled in Cape Town Creative Academy, a private art school. Meanwhile, he has continued to write polemical, erudite essays and reviews of contemporaries such as Grada Kilomba and Cinga Samson, often quoting Afropessimist social theorist Frank Wilderson III. He has also performed in galleries as part of the band Dead Symbols (with musician Fernando Damon and artist Rowan Smith), typically reading from canonical Black texts, such as journalist Bloke Modisane’s Blame Me on History (1963).

The materia born from artistic landscapes, both present and past, is one of our greatest sources of admiration. ART THEMES is our irreverent tribute to the messaging that lies within these bodies of work. This bi-monthly digital review, curated according to thematic concepts, uses common interests and themes to collate the work of great artists – as we make unusual and intriguing connections across ambiguous and clarified perspectives, literal and figurative alike. 

Enter August’s theme: Hibernation. The sentiment of hibernation is aptly woven together by poet Chen Chen, who gives his take on the notion: “Yes– give yourself the time. To mull things over. Ruminate. To chew, yes. To hibernate, let things sit fallow. To follow intuitions. To study. To read, reread. To experiment wildly, experiment carefully. To care. To care about your mind, heart, belly and your every toe. To care about and for your language. To language your care.”

Each winter seems to have the profound ability to cause a ripple of introspection, to retreat into oneself, to take stock. It is both a physiological response to the change in natural surroundings, but also an emotional and psychological reaction. We are all affected instinctually, saving resources in various silos of our lives. Employing a hibernation tactic, mindset or practice feels unavoidable but is also nothing to deter from – each season has its glory. These artists represent some sort of coming inside, shielding, recovering, going within, cocooning towards what we hope is the warmth we seek, towards the betterment of self through hibernation.

 Read the full article here: https://ceconline.co.za/art-themes-theme-one-hibernation/ 

Cape Town-based ceramic artist Githan Coopoo is in the throes of art directing a fashion show for his friend and collaborator, the LVMH prize winning designer Sindiso Khumalo. He has much to say about the experience. “People like to think that Cape Town is beautiful because of the mountains and the landscape, but it’s what the land has been through that matters,” he exclaims, leaping from his seat to gesture towards the panorama.  

Read the full article here: https://www.ft.com/content/4fc684c4-93a7-4937-b918-32cab4b8d80d 

Groot Gat, the exhibition to mark Lady Skollie’s win as this year’s Standard Bank Young Artist for Visual Arts, debuts in June 2023 at the National Arts Festival in Makhanda, South Africa.

Lady Skollie discusses how in this body of work the hole or cave becomes a metaphor for tackling the complexity of Brown identities in South Africa. Groot Gat is on view in Makhanda until 2 July. The body of work will tour across the country – bringing powerful art and important ideas to diverse communities.

AMAKA speaks with the exhibitors and curators of the Tomorrows/Today section of the fair. 

The 10th edition of the Investec Cape Town Art Fair (ICTAF) will take place from the 17th - the 19th of February 2023 in the Mother City, which attracts history mixed with memory and desire.

Read the full article here: https://amaka.studio/explore/articles/investec-cape-town-art-fair