I've been a bit lazy: with a billion shows opening in the last two weeks, how does one find the time to write about all the excitement. Plus, I've been really busy lately staying at home and playing with my cat. So just a roundup:

History(n) at UCA: This little gallery is so passionate, its really great to see. And they're making a real effort to put on quality shows. They got Andrew Lamprecht to curate this one, and he puts together a rather strange collection of work, feeling a bit like snippets from a far larger show. Ingenious catalogue though and the woman who painted the large canvas in there is really hot.

Sue Williamson at YOUNGBLACKMAN: I ended up missing the well-attended opening of this show, but apparently it was wildish. A solid, if not surprisingly safe, start for this capital loss model gallery. I hope their incipient downward spiral will spark some much needed creativity. You can read an interview I did with the gallery over at ArtThrob.

Spring Art Tour:
Went to all the openings, drank too much Grolsch (obviously aimed at a more discerning consumer, because I found it heavy, gross and gave me a killer hangover). Hope the galleries sold something.

Andrzej Nowicki at WITW: His second solo show, Altona, really kicks ass. His uncanny gloom is really getting honed and he's trying new stuff, collages, delicate pencil, washes. Especially in the larger works.

Meshac Gaba and Paul Edmunds at Michael Stevenson: Meshac Gaba's Tresses made me laugh but is remarkably similar to his other work. His Colors of Cotonou felt like it needed to be a bit busier to be truly immersive. Paul Edmunds wetsuit tent and skateboard wheel parallelogram made my night, where the material became very emotive and evocative. Not so much in the rest of the pieces.

Kathryn Smith and Bili Bidjocka at Goodman Cape: The start of Kathryn Smith's collaboration with crime writer Margie Orford. Tough work, looking forward to seeing where it goes in the future. Between the texts and images of Bidjocka's there was something very suggestive of religion and the power of some unformed spirituality, but I must admit I had to read the press release to get my head around it. Too many obscure references?

Marianne Halter and Mario Marchisella at blank projects: Another highlight. European culture clashes with Joburg taxi culture. Funny, discordant and incisive. Recommended.
Anton Karstel at SMAC: Interesting use of impasto to break down images. Funny juxtapositions between beach babes and prime ministers. But one really feels the muddy colours in such a large show. If SMAC's intention was to up the profile of this painter, then it did its job. I had to miss the Gugulective and Barend de Wet performances later, but I heard the former at least was really interesting. Any insight anyone?