From Matterport to elegant websites to animated walls, this year's visual art offering is as diverse in presentation and as it is in content


The added benefit of gazing at one’s screen for inordinate lengths of time will go some way to mitigate the absence of time spent in galleries. Work from several collections are available throughout the Festival, foremost among them Scenes from the South, the first major exhibition of papers and artefacts from the JM Coetzee archives at the Harry Ransom Center, University of Texas at Austin, and Amazwi South African Museum of Literature in Makhanda, to mark the occasion of JM Coetzee’s 80th birthday. Elder Pitika Ntuli’s Azibuyele Emasisweni is the first solo exhibition of the renowned artist and Sangoma to comprise only works sculpted from bone. A cohort of prominent voices collaborate in echoing, praising and speaking to the works and the times we are in. Looking back, RECLAMATIONS: A Tierney Fellowship Retrospective marks the longest-running mentorship programme in the history of African photography. The retrospective, hosted by the Market Photo Workshop, is presented on the Photoform Africa platform. Still with pertinent social issues Sounding the Land includes Simon Gush’s film A Button Without a Hole (2019, 30min) the second film in his series Land is in the Air. With diverse contributions in the form of a curated music set, discussion and investigative journalism, it traverses dispossession and forced removal, histories of disease confinement and control. Moving into participative programme elements, Afropolitan Comics: from South Africa to the continent, is an exhibition showcasing 16 artists gone online as well as a series of workshops. And keeping it speculative, The Presence of Absent Books is a series of short voice notes about missing books, conceptualised by Isabel Hofmeyr as one part of the another far spanning project, the latest iteration of the Women In Aeroplanes project.