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Photographs in Our Mother Tongue: Early years of democr...

Nelson Mandela famously said: “If you talk to a man in a language he understands, that goes to his head. If you speak to him in his own language that goes to his heart.”
In a country with 11 official languages and countless other unofficial languages people are often forced to live in a world where they find themselves perpetually lost in translation.
An exhibition at the Standard Bank Art Gallery in Johannesburg,
Photographs in Our Mother Tongue, curated by Same Mdluli, showcases the works of more than two dozen prominent South African photographers from the bank’s corporate collection.
The exhibition asks if an image truly does speak 1,000 words or if the same linguistic barriers that divide so many, exist in an image as well. These questions are by no means simple to answer – the exhibition title perhaps provides a lens through which to address them. ....

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The South African Artist Behind Mandela's Favourite Portrait: Cyril Coetzee

iAfrica
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Cyril Coetzee has found himself, paintbrush poised, ready to capture some of Africa’s most prominent figures and moments. He was commissioned not once, but twice, to paint the portrait of the late Nelson Mandela for the former president’s private collection. The first of these portraits was completed during Mandela’s presidential term and deemed by Madiba himself as his favourite. This portrait was then sent to the rest of the world in the form of the International Commemorative Postage Stamp for Mandela’s 90th birthday.
Flash forward twenty years, and Coetzee is again the artist of choice for dignitaries and prominent names in global affairs and commerce. This time, it’s Strive Masiyiwa, another African making his mark on the continent and the world, who has been captured on canvas. ....

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The Apollo 40 Under 40 Africa in focus: Mikhael Subotzky

‘It’s a crazy thing to be doing,’ says Mikhael Subotzky. The artist’s recent shift into painting seems to baffle him as much now, as he speaks to me over Zoom from a hotel in Cape Town, as it did when I met him in his Johannesburg studio in September 2019, where he showed me some of the
White on White canvases included in his first display of paintings, ‘Massive Nerve Corpus’, at Goodman Gallery’s Johannesburg branch earlier that year. These large-scale semi-abstract canvases, layered with strips of medical tape, are certainly a far cry from the documentary photographs with which the artist made his name in the 2000s; Subotzky himself wrote derisively in 2019 of ‘privileged white men […] with their oversized paintings and well-worked mythologies’. But it’s perhaps precisely for this reason that he followed the ‘crazy’ impulse to paint. Over the course of the past 15 years Subotzky has developed from an acute observer of societal injustice in South Af ....

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