ARTICLES AND BOOK CHAPTERS

 

• 2017. (et.al.) "Reaching sideways, Writing Our way". African Arts 50 (2) Summer 2017: 10-29 

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

• 2016. "Infecting the city: Site-situational performance and ambulatory hermeneutics". Third text. 

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

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

• 2015. “Blind Spots: Trickery and the ‘Opaque Stickiness’ of Seeing”, Image and Text 25: 175-191. ISSN 1020 1497.   

• 2015. “What Global Art and Current (Re)Turns Fail to See: A Modest Counter-Narrative of Not-Another-Biennial. Image and Text 25 261-286. ISSN 1020 1497.

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

• 2014. “Cosmological Efficacy and the Politics of Sacred Place: Soli Rainmaking in Contemporary Zambia”. African Arts. 2014. Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA, pp 40-57.

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

• 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.

• 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): 299-302.

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

• 2012. Making Way: Contemporary Art from South Africa and China. ViPAA: Grahamstown. ISBN 978-0-86810-477-5, pages 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, pp167-205.  ISBN:  978-989-671-171-9, pp167-205.

• 2012. “China-Africa Relations: Research Approaches”. African Arts, Spring 2012, pp1-7.

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

• 2011. “Nandipha Mntambo’s Pause” in Nandipha Mntambo. Standard Bank Young Artist Award catalogue essay. Stevenson Galleries, pp9-23. ISBN: 978-0-620-50664-9.

• 2011. “Mary Sibande” in ARS II, Museum of Contemporary Art Kiasma, Finland. ISBN 978-951-53-3337-7.  (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). Johannesburg: Wits 老虎机游戏_pt老虎机-平台*官网 Press, pp38-59.

• 2011. "The Proximity of Distance: A Topographic Diary of Sino-African Dialectics", JACANA: Journal of African Culture and New Approaches 1, 8-21. ISSN 2157-1910.

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

• Simbao, Ruth. “Doing it for comfort” in Artthrob online magazine. 2011. (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” in African Arts, 2010. Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA.

• 2010. “Spier: Janus Face” in 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. “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 Eicher, Joanne B. (ed.). Berg Encyclopedia of World Dress and Fasion. (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 Hlongwane, Ali Khangela (eds.). Footprints of the "Class of 76": Commemoration, Memory, Mapping and Heritage. Soweto: The Hector Pieterson Museum, 2009, pp131-176.  ISBN: 978-0-620-41917-8.

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

• 2009. (Portuguese and Spanish). “A cena Afri não é o que parece”, “El panorama Afri no es lo que parece”. PróximoFuturo (Next Future) 1:22-25. 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) in Art South Africa.

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

• 2009. “Umtshotsho: Nicholas Hlobo” (Review of 2009 Standard Bank winner) in Artthrob online magazine. 2009. (http://www.artthrob.co.za/Reviews/Review-of-Umtshotsho-by-Ruth-Simbao-at-Monument-Gallery.aspx.)

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

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

• 2008. “Bernie Searle”, Art South Africa 7(2) Summer2008. (Exhibition review).

• 2007. “Credo Mutwa: Time Unraveller” in Art South Africa 5 (4), Winter 2007, 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. Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA, 52-69.

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

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

• 2007. Light on a Hill: Building the Constitutional Court,” De Arte 2007, pp86-88. (Book review). UNISA Press.

• 2007. “Fresh: Artist’s Residency Program”,Nka: Journal of Contemporary African Art21, Fall 2007. Ithaca, NY: Cornell 老虎机游戏_pt老虎机-平台*官网, 122-123.

• 2007. “Konse Kubili: Kalinosi Mutale and Anawana Haloba”, Nka: Journal of Contemporary African Art21, Fall 2007. Ithaca, NY: Cornell 老虎机游戏_pt老虎机-平台*官网, 124-125.

• 2006. “Weighing Masculinity,” Art South Africa 5 (2) Summer 2006, 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, Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA, 26-41 and 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, 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). Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA.

• 2004. “Mwamenezili (The Way It Is),” African Arts 37 (2), Summer 2004. Artists Geoffrey Phiri and Friday Tembo, Lusaka, Zambia. (Exhibition review). Cambridge, Massachusetts and Los Angeles: MIT Press and UCLA, 81-83 and 96.

• 2004. Co-authored with Annear, Christopher M. “Hansen, Salaula: The world of Secondhand clothing and Zambia,” International Journal of African Historical Studies 37 (1)2004. Boston: Boston 老虎机游戏_pt老虎机-平台*官网, 172-174.

• 2003. “Co-existence: Contemporary Cultural Production in South Africa,” NKA: Journal of Contemporary African Art 18, Spring/Summer 2003. Ithaca, NY: Cornell 老虎机游戏_pt老虎机-平台*官网, 92-93. (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).

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

• 2000. “A Deadly Explosive on her Tongue: White Artists/Black Bodies,” Third Text 50, Spring 2000, London: Routledge, 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. Montreal, Canada.

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

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

• 1999. “Crossings: Transnational Echoes and the Proximity of Distance,” Third Text 46, Summer 1999, London: Routledge, 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. Montreal, Canada, 44-45. (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. Toronto, Canada, 52.(Review of Displacementscurated by Jesica Bradley, Art Gallery of Ontario. Artists in the exhibition: Rachel Whiteread, Doris Solcedo, and Miroslaw Balka).

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

• 1998. “Remember, Re-member: The role of memory in South African Art” in Nzegwu, Nkiru (ed.). Issues in Contemporary African Art. Binghamton: The International Society for Studies in Africa, 1998, pp155-171.

CURATING AND EXHIBITION ESSAYS

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

• 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. 

• 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, pages 1-53.

• 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).

• 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.

• 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. 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.

• 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

Last Modified: Fri, 12 May 2017 14:48:48 SAST