State of the art: RMB Latitudes Art Fair returns
The RMB Latitudes Art Fair is set to return to Joburg's Shepstone Gardens from 23 to 25 May for its fourth edition.
Launched in 2019 by Roberta Coci and Lucy MacGarry, the fair began as an entrepreneurial leap of faith. Both had experience with large-scale events through Artlogic and recognised the shift happening in the local and global art landscapes.
The inaugural edition took place at Nelson Mandela Square, inside a 1 000-square-metre marquee, with 40 exhibitors from as far as Oslo and New York and across Africa.
'Even then, it was all about contemporary African art,' says MacGarry. 'That has always been our defining mandate.'
The 2019 edition drew around 7 000 visitors and proved that there was space, and appetite, for a new kind of art fair that catered to both established and emerging voices.
The second edition was in the works when the Covid-19 pandemic halted global events. Plans to host the fair on a rooftop venue in Sandton were scrapped, and like many in the arts, the co-founders were forced to pivot. That pivot became an innovation — a comprehensive online platform for showcasing and selling art.
'We had talked about building something digital for a long time,' says Coci. 'Covid gave us the time and necessity to do it. We launched the platform in July 2020 with 350 artists. Today there are more than 2 000.'
This digital-first period also cemented Latitudes' unique positioning. The platform gave independent artists the opportunity to present their work side by side with established galleries, something that had traditionally been a point of contention in the art fair format.
'We were scared we'd get pushback from galleries,' MacGarry admits. 'But with everyone's income at risk, it was a moment where those rules no longer applied.
'That precedent has stuck. We're still the only fair to host both galleries and independent artists in the same space.'
By the time the fair returned in person in 2023, at Shepstone Gardens and with Rand Merchant Bank (RMB) as a sponsor, it had not only survived the pandemic but emerged with a stronger, more inclusive foundation.
The lush, multi-level outdoor setting allows the fair to feel immersive rather than overwhelming.
'We don't operate like a conventional convention centre,' says Coci. 'You experience a gallery section, then step out into a garden. It's a palate cleanser. That flow is deliberate.'
As the fair evolves, so does its ambition. This year's edition brings the first in a series of African country spotlights with Botswana as the inaugural focus.
A dedicated rooftop section at the venue will house Botswana's artists, curators and gallerists, all of whom have also been integrated into the Latitudes online platform.
'This is the first of many,' says Coci. 'We're building real relationships across the continent. This isn't just an online transaction. It's about being in Gaborone, building trust, and co-creating.'
The two co-founders say they're committed to making Latitudes Online a truly pan-African platform.
'We already have contributors from countries like Nigeria, Kenya, Ghana and Côte d'Ivoire, but going forward we want to go deeper,' MacGarry says.
'Next year might be Nigeria. The idea is to build real infrastructure and networks that last.'
This year's theme, Co-production, reflects the collaborative ethos that has defined Latitudes from the start. 'We bootstrapped this fair,' says Coci. 'From the beginning, we've built it by working with others — offering partnerships, trade exchanges, anything we could to make it happen.
'That's still the approach. And it's why we've grown.'
The theme also threads through the fair's programming. The 2025 talks series, which is drawing packed audiences, is designed to spark inspiration and also lay the foundation for actionable partnerships.
'Our talks this year are about relationships between African contemporary art and global cultural institutions,' says MacGarry.
'We've got speakers from South Korea, China, the US and several European countries. It's a look at what those offices are doing in South Africa and how artists, curators and institutions can plug in.'
An invitation-only side event, Creative Connections, will run alongside the fair's VIP programme and bring together policymakers, diplomats and industry leaders to catalyse support and policy shifts in the creative sector.
'Art fairs are already places where connections happen,' says MacGarry. 'But, this time, we want to curate those connections more intentionally.'
Another consistent feature of Latitudes is its commitment to spotlighting independent artists.
The fair's Index section is dedicated to self-representing artists, and this year it takes on a new shape under the curation of South African artist Bonolo Kavula.
Known for her intricate thread-based works, Kavula brings a personal touch by showcasing young artists she mentors, tying them together through a curatorial concept called The Invisible Thread.
'The Index section has always been an incubator,' says MacGarry. 'Many artists who started there are now signed to galleries. This year, we're also using it as a mentorship platform, supporting emerging voices while giving them visibility.'
Located under the glass marquee, this part of the fair is both a visual and symbolic centrepiece, inviting collectors and art lovers to engage directly with the creators.
That spirit of engagement runs through the entire fair layout. The spatial curation, says Coci, is just as important as the artistic curation.
'We place exhibitors intentionally so that they're in conversation with each other. It's a complex puzzle but we think about how people will move through the space, what they'll experience next, and how it all connects.'
To help guide visitors, designer Matthew Edwards has created a new series of isometric maps and visual guides that incorporate the architecture of Shepstone Gardens.
'We want it to feel like an adventure,' MacGarry says.
'One that people can remember and navigate with ease.'
Over the last decade, South Africa's art world has undergone a quiet revolution.
'It used to be a space of gatekeeping,' says Coci. 'Big galleries talking to big collectors. It was intimidating.
'Now, there's access, driven by digital tools, social media and platforms like ours. Artists can represent themselves and young collectors feel like they belong.'
Latitudes has played a key role in this shift, creating both physical and digital spaces where the full breadth of African contemporary art is visible and accessible.
'We've got over 20 000 newsletter subscribers from all over the world,' says Coci. 'Collectors can discover everything from Goodman Gallery to emerging artists in one place.'
As the fair gears up for its most ambitious edition yet, its founders remain grounded in the values that launched them: collaboration, accessibility and a belief in the transformative power of art.
'We're not just putting on a fair,' MacGarry says. 'We're building a community; and a future.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Mail & Guardian
2 hours ago
- Mail & Guardian
10 Hours, 8 Tracks, 1 Lifetime: Apiwe Bubu's 20-year journey to his debut album
Frame of mind: Apiwe Bubu, who hails from the Eastern Cape, and now has his own studio in Los Angeles, came back to his home country to record his debut album. Photo: Ofentse Moatshe On Thursday, 31 July, Apiwe Bubu dropped his debut solo album Reflections of a Sound Mind — an eight-track collection of piano compositions that has been two decades in the making. It was a long road that saw Bubu travelling to Boston, Valencia and Los Angeles before coming home to record and release his first album at the age of 41. Born in Mthatha in the Eastern Cape, Apiwe is the second of five children. His early years were spent in his birthplace before he moved to Johannesburg at the age of 12 for boarding school. It was there, amid the piano rooms tucked into every quad, that he first started 'twiddling' with the keys and discovered a passion for music. He moved to Pretoria to complete his final two years of high school. Upon matriculating, Bubu found himself unsure of what his next steps should be. He initially embarked on a path that would sound reassuring to his parents, briefly studying aeronautical engineering at Wits. 'I was, like, 'No, this is too much,'' he recalls, realising halfway through his first year it wasn't the right fit. After taking the rest of that year and the following one off, during which he worked at a branch of Roman's Pizza, serving slices while pondering his future, music emerged as the clear direction. To appease his parents and ensure they would take his career choice seriously, he framed it strategically. 'Let me not present it as music. Let me present it as sound engineering,' he recounts. 'The engineering is still going to make them feel like, 'Oh, there's a job behind this.' They can still say their son is an engineer.' Bubu enrolled at In-House in Randburg, Johannesburg, where he earned a certificate in sound engineering a year later. This qualification quickly opened doors. At 21, he landed a job at Urban Brew, a prominent post-production house for TV shows. Here, he wasn't just an engineer — his piano skills caught the attention of his interviewer, leading to opportunities to compose music for daytime TV. This period offered him invaluable insight into the mechanics of the music industry, from composition to royalty statements and the workings of the Southern African Music Rights Organisation. He learned extensively from lead composer Abe Sibiya, observing his ability to translate ideas into complex musical arrangements with apparent ease. 'I was trying to figure it out,' Bubu says, describing his fascination with Sibiya's talent. 'Just, like, how does that happen?' His journey then took him to SonoVision Studios, where he delved into audio work for radio ads. While the job was comfortable and highly sought after within the industry, Bubu harboured a growing desire to deepen his musical understanding. It was at Urban Brew that a significant seed was planted. The owner of Urban Rhythm Factory, an associated post-production team, who had graduated from Berklee College of Music in the US in 1974, suggested Bubu further his studies. 'I looked it up and saw the people who'd been there: Quincy Jones, John Mayer,' Bubu remembers, recognising the school's prestige. However, the cost — $50 000 a year for tuition alone, not including living expenses — made it seem 'pie in the sky'. Despite the daunting financial hurdle and his stable job at SonoVision, Bubu made a courageous decision. He left his position to focus entirely on auditioning for a scholarship to Berklee. What followed was a gruelling four-year audition process. Each year, Berklee would visit one African country, requiring aspiring students to travel for their auditions. His first attempt was in Mozambique, in 2008, followed by Durban in 2009, Kenya in 2010, and, finally, Cape Town in 2011. During these four years, Bubu dedicated himself to refining his craft, studying weekly under jazz maestro Andile Yenana, who he considers a mentor. The breakthrough came in 2011, during the Cape Town International Jazz Festival. 'Yo, that was amazing!' Bubu exclaims, recalling the moment he received the acceptance email days after his audition. He was bouncing between stages at the festival when he finally gathered the courage to open the message. 'Boom! It said what it said and I was at the jazz festival. And I was, like, 'Wow, jeez. Let's celebrate!' The scholarship covered 75% of his tuition, with the remaining amount being secured through an annual international bursary scholarship from the National Arts Council. In 2012, Bubu finally arrived in Boston to begin his studies at Berklee. What was supposed to be a five-year programme was condensed into a brutal four years as he pursued a double major in music production and engineering and contemporary writing and production. 'If I thought the first four years of me trying to get in was brutal, then the next four years were even more brutal,' he admits. He was immersed in studio work for production and engineering, while simultaneously honing his compositional techniques, culminating in his final writing exam — an orchestral score he conducted and recorded. His final semester in 2015 provided a much-needed respite. After three intense years in Boston, Bubu opted to complete his liberal arts electives at Berklee's campus in Valencia, Spain. This period of relaxation allowed him to recalibrate before the next chapter of his career. Towards the end of 2015, while still at Berklee, Bubu secured an internship with Mirrorball Entertainment, the umbrella production and studio company of renowned mixer and producer Tony Maserati, known for his work with Beyoncé, Lady Gaga and Robin Thicke. This came through a recommendation from Carl Beatty, the chief of staff at Berklee and an old friend of Maserati's. Impressed with Bubu's work, Maserati offered him a permanent position upon graduation. Beginning in early 2016, Bubu found himself immersed in high-profile projects, including Beyoncé's Lemonade album. 'It was crazy,' he recounts, recalling the secrecy surrounding the project. He contributed to the mix engineering of the tracks 6 Inch, Sandcastles and All Night, his personal favourite from the album. He recalls a 'baptism of fire' moment when he mistakenly adjusted a setting on Beyoncé's vocals during a mixing session, earning a swift rebuke from Maserati. 'How am I the guy who messes up a Beyoncé song?' he remembers. While he never met Beyoncé in the studio, he witnessed industry giants like Diplo come through. In addition to Lemonade, he made contributions to albums like Keith Urban's Ripcord and Gallant's Ology, which all earned Grammy recognition. Though he valued his time at Mirrorball, Bubu felt a pull towards the creative side of music: 'Engineering is technical stuff … I want to create more,' he explains. He began freelancing with other producers in LA, delving deeper into the production of hip-hop and R&B. In 2019, he established his own space in North Hollywood, Global Sound Studio LA, where he now handles his own clientele, production and mixing. Through his studio, Bubu has collaborated with a diverse range of artists, including trap producers like 808 Mafia, Flipp Dinero and pop artist Bridgit Mendler. He has also founded his own record label We Want More. Through it, he focuses on discovering and developing emerging artists, such as Disney star Dior Goodjohn. Despite his extensive work with other artists and his growing empire, Bubu's own debut album was a long time coming. 'You know when you just never know when it's time,' he muses, explaining his diverse influences and ongoing refinement of his piano technique. The compositions on Reflections of a Sound Mind have been simmering for years, performed occasionally but never formally recorded until now. The catalyst for the album came during a recent visit home to Joburg. Producer and long-time friend Ofentse Moatshe, known as JT, knew of Bubu's unrecorded material and pushed him to commit. JT went as far as to purchase a piano for the project and install it in his studio. 'One day he's, like, 'Let's talk about the album.' Then, when I get there, he's like, 'Ah, yeah, let's test it out now. Let's just see if we can get a good sound from this.' 'So, from testing it out and then saying to me, 'Okay, we're recording now.' I'm, like, 'What do you mean?' He's, like, 'Yeah, we're starting now.' All of a sudden, eight hours later, we've got the album.' The entire eight-track album was recorded in a single, focused session, a testament to Bubu's preparation and JT's persuasive determination. Apiwe Bubu's personal odyssey finds resonance in his family name. He discovered that 'Bubu' traces back to ancient Egypt, meaning 'bringer of light'. This perfectly encapsulates his 'hero's journey': travelling the world, immersing himself in the global music industry, learning from masters and defying traditional career paths, only to return home to record and release his inaugural collection of work. Reflections of a Sound Mind is the illuminating culmination of a life dedicated to sound, a light finally shining brightly.
The Herald
2 hours ago
- The Herald
Iconic church venue to be used to develop new generation of artists
News Programme launched at St Stephens hall will equip aspiring performers with the necessary skills, mindset and attitude Premium By Simtembile Mgidi - 01 August 2025 The St Stephens Anglican Church Hall in New Brighton, known as the home of protest theatre in the apartheid era, is now fertile ground for the next generation of performing artists. Renowned names in theatre including late artists such Dr Athol Fugard, Dr Winston Ntshona, Nomhle Nkonyenia and Welcome Duru, and Dr John Kani, have all taken to its stage as part of the Serpent Players...
Mail & Guardian
2 hours ago
- Mail & Guardian
Diary: Wynton Marsalis will headline Dinaledi stage at the Joy of Jazz, Symphony of Bansuri to premiere at the Artscape Opera House and Basadi in Music Awards return in August
Returning to Joburg: Jazz maestro Wynton Marsalis will be the main act at the Standard Bank Joy of Jazz festival next month. Jazz highlight to look forward to at festival Jazz royalty arrives in Joburg as Wynton Marsalis, the legendary American trumpeter and composer, headlines the 2025 Standard Bank Joy of Jazz festival. Performing exclusively on Friday and Sunday alongside the acclaimed Jazz at Lincoln Center Orchestra, Marsalis adds serious star power to a packed three-day programme featuring more than 60 artists from 15 countries. Set against the elegant backdrop of the Sandton International Convention Centre from 26 to 28 September, this year's festival promises an immersive celebration of jazz and lifestyle. Marsalis's performances form part of a larger global tour honouring African jazz voices. With a career spanning four decades and honours ranging from multiple Grammys to a Pulitzer Prize, he embodies the spirit of excellence and cultural dialogue. His return to Joburg is a highlight of the African jazz calendar. Symphony of Bansuri at Artscape Opera House For one night only, Symphony of Bansuri makes its world premiere at the Artscape Opera House in Cape Town on 2 August, promising a transcendent musical journey led by Grammy-winning flautist Rakesh Chaurasia and the Cape Town Philharmonic Orchestra. Presented by Inner Circle Entertainment, this landmark event blends the soul-stirring sounds of Indian classical music with the lush textures of Western symphony in a concert that celebrates the power of the bansuri, the traditional Indian bamboo flute. Chaurasia, hailed for his ability to weave serenity and virtuosity, will deliver a tribute to his late mentor, tabla legend Ustad Zakir Hussain, who helped shape this production. The evening opens with a classical recital and crescendos into reimagined ragas, folk melodies and film tunes arranged for full orchestra. Tickets at Ticketmaster and the Artscape box office. Basadi in Music Awards Rhythm, power and beauty: The Basadi in Music Awards celebrate women in South African music. The Basadi in Music Awards returns this weekend, shining a spotlight on the powerhouse women shaping South Africa's music industry. Hosted at the Joburg Theatre, it starts on 1 August with the Vanguard Awards, led by Lamiez Holworthy, paying tribute to the creatives behind the scenes, managers, stylists, producers and more. On 2 August, Lerato Kganyago presents the Main Awards, honouring performers who continue to set South Africa's musical pulse. Expect green-carpet glamour with Zanele Potelwa, Refilwe Modiselle and Lethabo Lejoy welcoming guests. With curated meals, pre-drinks, after-parties and show access, this is a full experience. Guests are encouraged to dress to the theme Earth, Water, Fire or Air. Tickets available now via Computicket. Catch the full event on SABC 2 on 9 and 10 August.
