It’s taken me longer than usual to tie down my words and to begin to interpret Simphiwe Ndzube’s ‘Becoming’. Knowing Ndzube, and being familiar with the idiosyncrasies of his work, this could easily have been just a sweeping and endearing review. But how does one sweep and endear the residual objects of the societally effaced and the economically repressed as…

The Iziko South African National Gallery surely meant well when they conceived ‘Unearthing Moses Tladi’, aiming to reintroduce Tladi and his production over a 30 year period into South African art history. Unfortunately, the lifework of the talented Mr Tladi has instead been undermined by being huddled, in an attempt to ‘contextualise’ his practise, with that of his contemporaries. The…