PUBLICATIONS

• 2018. Igniting public space at the Chale Wote street art festival in Accra. The Conversation.

• 2018. Installation view: Chale Wote Festival 2018 (The 8^th Chale Wote street art festival took place in James Town, Accra in Ghana from 20 -26 August 2018). ContemporaryAnd magazine.

• 2018. Capturing the Soweto Uprising: South Africa’s most iconic photograph lives on. The Conversation. 

• [et al.] 2018. “Zimbabwe mobilizes: ICAC’s shift from Coup de Grace to cultural coup”. African Arts, 51(2), pp.4-17.

• 2017. "A Song of Uhuru and a difficult Dance": Anawana Haloba's Sound Memories of TAZARA. 

• 2017. "Located on an Oblique Slanting Line": Thania Petersen's Remnants. Exhibition text for Remnants (Everard Read Gallery, Cape Town, South Africa.

• (and Masimba Hwati). 2017. "Street Slang and Visual Improv": Gareth Nyandoro's Kuchekacheka (Armory Show, New York, 2017) 

• et al. 2017. "Reaching sideways, Writing Our Ways the Orientation of the Arts of Africa Discourse". African Arts, 50(2), Summer 2017, pp.10-29. 

• 2017. (First Word). "Situating Africa: Alter-geopolitics of Knowledge, or Chapungu rises", African Arts, 50(2), Summer 2017, pp.1-9 

• 2016. "Infecting the city: Site-situational performance and ambulatory hermeneutics". Third Text, 30, Issue 1-2, pp.1-26. 

• 2016. “Walking into Africa in a Chinese Way: Hua Jiming’s Mindful Entry”. In Afrique/Asie: réseaux, échanges, transversalités, edited by Dominique Malaquais and Nicole Khouri. Presses Universitaires de Rouen et du Havre. 

• 2015. “Blind Spots: Trickery and the ‘Opaque Stickiness’ of Seeing. Image and Text, 25, pp.175-191.   

• 2015. “Cleansing via the Senses as Eyesight Follows the Soul: Igshaan Adams’ Bismillah Performance”. In Igshaan Adams. Cape Town: Blank Projects. 

• 2015. “Kudzanai Chiurai: The State of the Nation”. In The Johannesburg Pavilion, Venice. Johannesburg: 133 Arts and the Joburg Art Fair. (Exhibition catalogue for the Venice Biennial). 

• 2015. Portraits of 'the deathlessness of cloth': Leonce Raphael Agbodjelou's Egungun Masquerade series. Cape Town: SMAC Gallery.

• 2015. “What Global Art and Current (Re)Turns Fail to See: A Modest Counter-Narrative of Not-Another-Biennial. Image and Text, 25, pp.261-286.

• 2014. Review of The Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life, edited by Okwui Enwezor and Rory Bester, New York, NY, Prestel. Social Dynamics: A Journal of African Studies 40(3), pp.602-604.

• 2014. “Cosmological Efficacy and the Politics of Sacred Place: Soli Rainmaking in Contemporary Zambia”. African Arts, 47(3), Autumn 2014, pp.40-57.

• 2014. Exhibition Essay. “Performing Stillness in Order to move: Mohau Modisakeng’s Becoming”. Brundyn+ Cape Town.

• 2014. “When Backs are Turned: Process…Aftermath”. In Night Fighter: Time to Time, Text to text. (The divergence of Andrew Jeptha’s booklet in the exhibition Night Fighter) by Kurt Campbell. Cape Town: UCT, Michaelis School of Fine Art, pp.14-20.

• 2014. BLIND SPOT. Curated performance art programme including the following performances: 1) Mbali Khoza's 'What difference does it make who is speaking?' at the Eastern Star Press Museum; 2) Igshaan Adams's 'Bismillah' in the basement of the 1820 Settlers National Monument; 3) Mohau Modisakeng's 'Barongwa' at the Egazini Memorial in Fingo Village and 4) 'Everse' by Simone Heymans, Chiro Nott, Ivy Kulundu-Gotz and Joseph Coetzee at Victoria Primary School. Main programme of the National Arts Festival, South Africa.

• 2014. BLIND SPOT Performance Art Programme booklet. Grahamstown, Visual and Performing Arts of Africa. ISBN: 9780868104812, pp 1-28. 

• 2014. SLIP: Mbali Khoza and Igshaan Adams. Curated exhibition at the Albany Museum, Grahamstown.

• 2013. Curator of Making Way: Contemporary Art from China and South Africa. Standard Bank Gallery, Johannesburg. 20 January to 28 March 2013. (www.makingway.co.za).

• 2013. Performance brochure for Making Way. Grahamstown, Visual and Performing Arts of Africa. 

• 2013. Co-Editor of Third Text 27(3) special volume, “The Art of Change” (with Nomusa Makhubu). Third Text, 2013. “The Art of Change: Perspectives on Transformation in South Africa” co-authored with Nomusa Makhubu, Third Text, 27(3), p.p299-302.

• 2013. “Walking the Other Side: Doung Anwar Jahangeer”, Third Text, 27(3), pp.407-414.

• 2012. Making Way: Contemporary Art from South Africa and China. ViPAA: Grahamstown, pp.1-53.

• 2012. Curator of Making Way: Contemporary Art from China and South Africa. Main Programme of the National Arts Festival: Fort Selwyn, the Provost and the Alumni Gallery (Albany Museum), Grahamstown. (www.makingway.co.za)

• 2012. Exhibition catalogue: Making Way: Contemporary Art from South Africa and China. National Arts Festival. Grahamstown, ViPAA. ISBN 978-0-86810-477-5, pp.1-53.

• 2012. “O afropolitismo cosmolocal: novas geografias na arte contemporânea Africana”. In Gran?es Liçoes, edited by Clara Riso. Lisbon: The Gulbenkian Institute and Tinta da China, pp.167-205.

• 2012. “China-Africa Relations: Research Approaches”. African Arts, Spring 2012, pp.1-7.

• 2012. Book Review. “Tamar Garb, Figures and Fictions: Contemporary South African Photography”. Kronos: Southern African Histories. 38, November 2012, pp.272-275. 

• 2011. “Nandipha Mntambo’s Pause”. In Nandipha Mntambo. Standard Bank Young Artist Award catalogue essay. Stevenson Galleries, pp.9-23.

• 2011. “Mary Sibande”. In ARS II, Museum of Contemporary Art Kiasma, Finland. (English and Finnish).

• 2011. “Self-Identification as Resistance: Visual Constructions of “Africanness” and “Blackness” during Apartheid”. In Pissarra, M. (ed.). Visual Century: South African Art in Context, 1907-2007. Vol 3, pp.38-59. Johannesburg: Wits 老虎机游戏_pt老虎机-平台*官网 Press.

• 2011. "The Proximity of Distance: A Topographic Diary of Sino-African Dialectics". JACANA: Journal of African Culture and New Approaches, 1, pp.8-21.

• 2011. “Talking Art at the Festival”, Art South Africa 10(1), Spring 2011, pp.20-21. 

• 2011. “Doing it for comfort”. In Artthrob online magazine. (http://www.artthrob.co.za/Reviews/Doing-it-for-Comfort.aspx)

• 2010. “Dialectics of Dance and Dress: The Performative Negotiation of Soli Girl Initiates (Moye) in Zambia”. African Arts, 2010.

• 2010. “Spier: Janus Face”. Art South Africa.

• 2010. Simbao, Ruth. “Cosmolocalism: The Audacity of Place”, CCA Lagos Newsletter.  http://www.mauricembikayi.com/CCA_Lagos_Newsletter_10[1][1].pdf

• 2010. ‘Symptoms of (Art) History: Diagnosing our Current Past’ in The Good Old Days edited by Clare Butcher. Denmark, Arhus Kunstbygning, 10-11. ISBN 978-87-92025-09-8. (English and Danish).

• 2010. Mary Sibande. MOMO Gallery, Johannesburg. 2010. (Essay also used for the National Arts Festival exhibition).

• 2010. “One Day, All of This Will Be Yours: James Webb at Blank Projects”. In Artthrob online magazine. 2010. (http://www.artthrob.co.za/Reviews/Review-of-One-Day,-All-of-This-Will-Be-Yours-by-Ruth-Simbao-at-blank-projects.aspx)

• 2010. “Zambian Dress”.  In Berg Encyclopedia of World Dress and Fashion, edited by Eicher, Joanne B. (Volume on African Dress). London: Berg Publications. 2010. Print edition ISBN: 978-1-84788-104-5. Online edition: bergfashionlibrary.com.

• 2009. “The Thirtieth Anniversary of June 16: Reading the Shadow in Sam Nzima’s Iconic Photograph of Hector Pieterson”. In Footprints of the "Class of 76": Commemoration, Memory, Mapping and Heritage, edited byHlongwane and Ali Khangela. Soweto: The Hector Pieterson Museum, 2009, pp.131-176.  ISBN: 978-0-620-41917-8.

• 2009. “(Im)moral Distance: Don’t Blink”. Art South Africa, 8(2), pp.8

• 2009. (Portuguese and Spanish). “A cena Afri não é o que parece”, “El panorama Afri no es lo que parece”. PróximoFuturo (Next Future), 1, p.22-25. Calouste Gulbenkian Foundation, Lisbon.(Translated into Portuguese by Inês Meneses).

• 2009. “Meshac Gaba and Bili Bidjocka”, Art South Africa, Summer.

• 2009. “Infecting the City” (Spier Performance Art festival). Art South Africa.

• 2009. Book Review. “Dungamanzi/Stirring Waters: Tsonga and Shangaan Art from Southern Africa”. De Arte. UNISA Press.

• 2009. “Umtshotsho: Nicholas Hlobo” (Review of 2009 Standard Bank winner). Artthrob online magazine. 2009. 

• 2008. “A Fish Out of Water: The Inland Migration of the Dona Fish to the Luapula Plateau, Zambia”. In Sacred Waters: Arts for Mami Wata and Other Divinities in Africa and the Diaspora, edited by Drewal, Henry J. Bloomington: Indiana 老虎机游戏_pt老虎机-平台*官网 Press, pp.156-169. ISBN: 978-0-253-35156-2.

• 2008. “‘Afri’ thing is not what is seems”. Art South Africa, 7(1), Spring 2008, pp.58-63.

• 2008. Exhibition Review. “Bernie Searle”. Art South Africa, 7(2), Summer 2008.

• 2007. “Credo Mutwa: Time Unraveller”. Art South Africa, 5(4), Winter 2007, pp.42-45. (Special edition on Afro-Futurism).

• 2007. “The Thirtieth Anniversary of June 16: Reading the Shadow in Sam Nzima’s Iconic Photograph of Hector Pieterson”. African Arts, 40(2), Summer 2007, pp.52-69.

• 2007. “Speaking in Tongues”. Art South Africa, 5(3), Autumn 2007, pp.62-65.(An article on the performance art of Zambian artist Anawana Haloba).

• 2007. Exhibition Review. “Cape ’07”. Art South Africa 5(4), Winter 2007, pp.64-65.

• 2007. Book Review. “Light on a Hill: Building the Constitutional Court”. De Arte, 2007, pp.86-88. .

• 2007. “Fresh: Artist’s Residency Program”. Nka: Journal of Contemporary African Art, 21, Fall 2007, pp.122 -123. Ithaca, NY: Cornell 老虎机游戏_pt老虎机-平台*官网.

• 2007. “Konse Kubili: Kalinosi Mutale and Anawana Haloba”. Nka: Journal of Contemporary African Art, 21, Fall 2007, pp.124-125. Ithaca, NY: Cornell 老虎机游戏_pt老虎机-平台*官网.

• 2007. “I Ka Nyé Tan: You Look Beautiful Like That”. In Elizabeth Harney (ed.). Flava: Wedge Curatorial Projects (1997-2007). Toronto, Wedge Curatorial Projects, pp 16-23. ISBN: 978-0-9783370-0-1.

• 2006. “Weighing Masculinity”. Art South Africa, 5(2), Summer 2006, pp.38-39.

• 2006. “A Crown on the Move: Stylistic Integration of the Luba-Lunda complex in Lunda-Kazembe Performance”. African Arts, 39(3), Autumn 2006, pp.26-41 and pp.93-96.

• 2006. “National Arts Festival”. Art South Africa, 5(1), Spring 2006, pp.66-67. (Review of three exhibitions: Churchill Madikida, Zola Toyi and the Figuring Faith exhibition curated by Wits 老虎机游戏_pt老虎机-平台*官网 Gallery and WISER). Cape Town: Bell Roberts Press.

• 2006. “AmaNdebele”. De Arte 74, 2006, pp.61-64. (Review of AmaNdebele by Peter Magubane and Sandra Klopper, 2005). UNISA Press.

• 2004. “Dancing the line as we wave the old year goodbye”. Art South Africa, 2(3), Autumn 2004, pp.18-21.

• 2005. “Lechwe Trust Collection”. African Arts, 38(3), Autumn 2005, pp.78-80.(Review of Zambian art exhibited at the Lusaka National Museum. Artists included Trevor Ford, Laurey Nevers, Agnes Buya Yombwe, Style Kunda, Henry Tayali, Lutanda Mwamba, Dean Nsabashi, Geoffrey Phiri, Stephen Kappata, Patrick Mweemba, Godfrey Setti, Raphael Mutulikwa,,Lutanda Mwamba, Mulenga Chafilwa and Shadreck Simukanga).

• 2004. Exhibition Review. “Mwamenezili (The Way It Is)”. African Arts, 37(2), Summer 2004, pp.81-83 and p.96. Artists Geoffrey Phiri and Friday Tembo, Lusaka, Zambia.

• [and] Annear, Christopher M. 2004. “Hansen, Salaula: The world of Secondhand clothing and Zambia”. International Journal of African Historical Studies, 37(1), pp.172-174.

• 2003. Review of “Co-existence: Contemporary Cultural Production in South Africa. (Rose Art Museum, Brandeis 老虎机游戏_pt老虎机-平台*官网, Massachusetts). In NKA: Journal of Contemporary African Art, 18, Spring/Summer 2003, pp.92-93.

• 2002/2001 Post-graduate Student Representative for Curatorial Meetings. Fogg Museum, Harvard 老虎机游戏_pt老虎机-平台*官网.

• 2001. Panya Clark Espinal: The Visitor. Toronto: Oakville Galleries.

• 2001. Panya Clark Espinal: The Visitor. Toronto, Oakville Galleries. ISBN: 1-894707-02-8, pp.1-31.

• 2000. “Odd Bodies,” exhibition essay for Odd Bodies exhibition, curated by Diana Nemiroff, National Gallery of Canada. Ottawa, Canada, 2000. (The exhibition also toured to Edmonton and Toronto, Canada).

• 2000. Curator of Contaminated Symptoms: Photo-based works. Oakville Galleries. Toronto, Canada.

• 2000. “Contaminated Symptoms: Photography from the Permanent Collection,” exhibition essay for the exhibition Contaminated SymptomsthatI curated as Guest Curator at Oakville Galleries, Toronto, Canada.

• 2000. Curatorial Internship (contemporary art) at the National Gallery of Canada.

• 2000. “William Kentridge: Weighing… and Wanting,” exhibition essay for Canadian tour of William Kentridge: Weighing…and Wanting (from the Museum of Contemporary Art, San Diego), Art Gallery of Ontario, Toronto, Canada.

• 2000. “A Deadly Explosive on her Tongue: White Artists/Black Bodies”. Third Text, 50, Spring 2000, pp.45-60.

• 2000. “There’s a Bomb in this Exhibition: Kendell Geers Charged”. Parachute: Revue d’Art Contemporain/Contemporary Art Magazine 99, July–September 2000, pp.30-40.

• 2000. “Seydou Keita: Mid-Century Modern”. Mix Magazine, 26(2), Fall 2000, pp.51.

• 1999-2000. “Stan Douglas: A Persistent Seam in the Loop”. Fuse Magazine: Art Media Politics, 23(1), Winter 1999-2000, pp.42-44. (Artist Stan Douglas,Power Plant gallery, Toronto, Canada).

• 1999. “Crossings: Transnational Echoes and the Proximity of Distance”. Third Text, 46, Summer 1999, pp.97-100. (Discussion on issues of diaspora based on the Crossings exhibition).

• 1999 “Crossings,” Parachute: Revue d’Art Contemporain/Contemporary Art Magazine 95, July - September 1999, pp.44-45. Montreal, Canada. (Review of the Crossings exhibition curated by Diana Nemiroff, National Gallery of Canada. Artists included Yinka Shonibare, Alfred Jaar, Jana Sterbak, Jin-Me Yoon, Xu Bing, Cai Guo-Qiang, Maria Magdelena Campos-Pons, Carlos Capelan, Mona Hatoum, Jimmie Durham, Ilya Kabakov, Kcho, Lani Maestro, Vong Phaophanit, Rirkrit Tiravanija).

• 1999. “Displacements,” Lola, 4, Summer 1999, p.52. Toronto, Canada. (Review of Displacementscurated by Jesica Bradley, Art Gallery of Ontario. Artists in the exhibition: Rachel Whiteread, Doris Solcedo, and Miroslaw Balka).

• 1999. Curatorial Internship (contemporary art) at the Art Gallery of Ontario, Toronto, Canada.

• 1999.Curator of Joseph Beuys Multiples, 1999Art Gallery of Ontario (AGO), Toronto, Canada.

• 1999. Oakville Galleries, Canada. Curatorial Assistant for the “Donald Lloyd McKinley” exhibition of furniture design.

• 1998-9. “Contemporary South African Art: 1985-1995,” Third Text 45, Winter 1998-1999, pp.104-106. (Review of exhibition catalogue South African Art: 1985-1995)

• 1998. “Remember, Re-member: The role of memory in South African Art”. In  Issues in Contemporary African Art, edited by Nzegwu, Nkiru.  Binghamton: The International Society for Studies in Africa, 1998, pp.155-171.

Last Modified: Wed, 09 Jan 2019 14:30:57 SAST