The fourth edition of RMB Latitudes returned to Shepstone Gardens under the theme "Oasis of Contemporary Art". The venue itself is striking; a collection of five properties on a rocky Johannesburg ridge, built over a century ago for the chief engineer of the Modderfontein Dynamite Factory and expanded significantly after Chris Rayner purchased and renovated it in 1981. Stone buildings, clearly referencing European masonry, manicured gardens, and winding pathways create an atm

In most galleries, the marks left behind by audiences are treated as dirt or damage. They are smudges to be wiped away, fingerprints to be polished out, and disruptions to be quietly corrected before the next viewer arrives. The space is kept clean and white, allowing the artworks to take centre stage. But what if those marks are actually part of the art? What if they reveal something essential about how people want to experience art, especially in South Africa’s often text-h

Galleries have rules that most of us are taught early on. What if the gallery was made for noise, movement an disruption? A workshop?

Every artist knows the strange mix of excitement and vulnerability that comes with showing work. From scoping the space, curating your work, taking lots of breaks and asking for feedback, you are preparing for an audience to see the work in all its glory. We all hope for the audience to have an aesthetic experience where the work speaks to them, inspires them, and potentially supports us. When the audience arrives, there is no telling what they are thinking. If you speak to t

If contemporary art is all about process, why is th audience not more involved in it?