MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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Indictment of a society corroded by racial discrimination and injustice
A new exhibition demonstrates why photographer David Goldblatt became an iconic documentarist of the apartheid system, says JOHN GREEN
ICONIC: Baby with child-minders and dogs in Hillbrow park, 1972 and young man at home, Soweto, 1972
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
SOUTH AFRICAN photographer David Goldblatt, who died in 2018, was not an activist in the usual understanding of the word and saw his work in terms of reflecting reality rather than as direct political engagement. Yet his photos leave the viewer in no doubt about where his sympathies lie.
Renowned for a lifetime of photography exploring his home country, Goldblatt produced an unparalleled body of work within the city of Johannesburg, where he lived for 50 years.
Aged 17, Goldblatt would hitchhike from Randfontein, the small mining town where he was born, into the city where he walked around until the next morning, talking to night watchmen and following his intuition. This process became the foundation of his practice.
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