The accessibility of art has been a perennial topic of discussion in art circles. While art galleries and museums are theoretically open to all, social, economic, educational, cultural, class, and racial barriers often complicate access in practice.
Latitudes’ Chelsea Selvan caught up with Dexter Wimberly, the American entrepreneur and Hayama, Japan–based curator redefining contemporary narratives.
What does building energy ecosystems across Africa have in common with collecting contemporary art?
To mark the opening of the RMB Latitudes Art Fair 2025, Marcus Neustetter—supported by the Austrian Cultural Forum Pretoria—presented a live drawing and building projection. Rooted in his long-standing preoccupation with maps and the lines that divide and occupy territories, the work responds to today’s metacrisis with a provocative question: Are we following pre-drawn maps so rigidly that we no longer perceive what is truly happening in the territory itself?
We dig into how Millennials and Gen Z are redefining collecting: preferring more accessible price points, buying through auctions, supporting newer galleries, and leaning into art fairs not just for browsing but for community, identity, and story.
The aim of the award is to discover, recognise and nurture a new generation of women-identifying artists from the continent.
Latitudes’ Chelsea Selvan caught up with Dexter Wimberly, the American entrepreneur and Hayama, Japan–based curator redefining contemporary narratives.
What does building energy ecosystems across Africa have in common with collecting contemporary art?
The analogue art world faces mounting challenges – from rising rental costs for gallery and studio spaces to depreciating local currencies, which make participation in international art fairs increasingly expensive for South African art dealers.
As a distinction, perhaps our method of curating around absence begins with asking: who is not represented? This line of enquiry only opens the door to further scrutiny.
The accessibility of art has been a perennial topic of discussion in art circles. While art galleries and museums are theoretically open to all, social, economic, educational, cultural, class, and racial barriers often complicate access in practice.
Latitudes’ Chelsea Selvan caught up with Dexter Wimberly, the American entrepreneur and Hayama, Japan–based curator redefining contemporary narratives.
In Ethiopia, vulnerability is often met with silence or spiritual platitude. Feelings, especially those that are heavy, shapeless, or unresolved rarely find form, let alone space. The Weight of Soft Things brings together five emerging Ethiopian women artists who confront this absence by placing emotional life at the center of their work.
Conflict and war shape our experiences and definitions socially, and art is no different. Most artists from conflict-affected regions find their work defined by these circumstances, whether they embrace or resist this lens. Since April 2023, many Sudanese art exhibitions have been framed politically or nostalgically, but as a curator, I ask: who is thinking of the art itself? How does the environment affect visual memory and artistic production?
“Take a walk with me” An invitation to accompany another through the paths they navigate. This exhibition extends that call, walking alongside narratives shaped by South Africa’s enduring traumas and the identities forged within them. It retraces the long walk once framed as a journey to freedom. A walk that promised unity and equality but left uneven footprints on a divided land.
What We Don’t See: A Sensory Rebellion explores how art moves beyond the visible, revealing a world perceived through sound, texture, rhythm, and silence. The exhibition questions the dominance of sight in the way we experience and interpret art, reimagining perception as a multisensory field where emotion, material, and memory shape the act of seeing.
