Nitegeka’s exhibitions make the audience conscious of the exhibition space; the audience member comes to form part of the exhibition this way. (…)Perception in a Nitegeka exhibition is significant to the extent that its extension related the audience member to the physical malleability of the gallery space.
Dhlamini utilised the concept of time as historic through the fleeting moment of the camera lens to examine social ills in contemporary South Africa.
By engaging African ritualistic elements in order to invoke themes of historic healing, the artist demonstrates the measure with which what is perpetual about the moral putrefaction that characterizes society is persevered by what is ambiguous between the play of history and time, and between historic moments and contemporary examination.
Composition of the Eye is at a certain level a retrospective exhibition, it is also about the two artist careers that has spanned over fifty years combined. It is also about the merging of their discourses, this way both their aesthetic influences and impact can be deemed for their respective achievements. (…) Both their repertoire is or was informed by the techniques that informed Black artists during the apartheid era.
Themba Tsotsi writes about the work of the South-African artist Kemang Wa Lehulere. Starting point are two exhibitions of Wa Lehulere at Stevenson Gallery in Cape Town: Here I am, a concrete man throwing himself into abstraction (2017) and To whom it may concern (2015).