Upcoming events.
AMANI: The Pursuit of Peace
This exhibition brought together artists and audiences in dialogue about harmony, justice, and collective hope.
Peace, both globally and locally, remains a fragile and complex pursuit. Inequality, environmental crises, and human rights violations continue to threaten the world’s stability. In the face of these challenges, art stands as a powerful force, reflecting the spirit of the times, expressing collective hope, and advocating for justice and peace. Through empathy and storytelling, it bridges divides and captures pivotal moments in our shared human history.
The Peace Project examined this ongoing journey toward peace, highlighting the critical role art plays in both mirroring and inspiring the pursuit of harmony.
This exhibition featured a group of artists united by a passion for creative expression and social impact. These artists, alumni of the Emerging Artists Programme by the City of Cape Town, brought together diverse perspectives shaped by an initiative that empowered them with artistic skill, entrepreneurial knowledge, and tools for community engagement.
Their work reminds us that art not only speaks for the artist but also engages the viewer—sparking vital conversations that drive change, foster understanding, and help shape a more peaceful future.
ISITHUNZI
We closed Isithunzi: “The Exploration of Physical Conditions and the Spirit” with deep gratitude and reflection.
Presented by Lindokuhle Khumalo and David ‘Blakc’ Madlabane, the evocative exhibition emerged from a collaborative residency grounded in dialogue, shared beliefs, and layered cultural perspectives.
The title ‘Isithunzi’ often translated as “shadow” in English carries complex and fluid meanings in Nguni languages, encompassing notions of dignity, spirit, presence, and social standing. Rather than viewing shadows as absence, the exhibition reclaimed them as sacred repositories holding memory, lineage, resistance, and transformation.
The works served as sites where personal and cultural shadows were uncovered and honored, rendering the invisible resonance of land, identity, and spirit tangible. Positioning the shadow as both a sacred twin and a keeper of fragmented memory, the exhibition traversed deconstructed landscapes that mirrored psychological and spiritual terrains.
Through surreal aesthetics and material experimentation, Isithunzi became a conduit between the physical and the spiritual—urging viewers to confront silences, embrace interconnectedness, and move toward collective healing.
Le Kae
This exhibition presents the works of Manelisi Nene and Katleho Mosia. Created during their SIX WEEK residency, their works converge through the dialogue of greetings, drawing on their Zulu and Sotho heritage. Their practices unfold at the intersection of language, identity, and recognition, employing painting to extend the sacred ritual of acknowledgment into visual form.
A greeting is an act that opens a threshold, inviting us into a space of recognition. In Zulu, it begins with Sanibona—not merely a simple greeting, but a powerful invocation, a declaration that we see you, and all those who journey with you. Le kae? follows in Sotho, a question that probes our place in the world and our sense of belonging: Where are you situated, and where do you and your lineage reside in the constellation of existence? More than a question, it is an invitation—a call to gather histories and to step into a circle of recognition. It invites us to engage not as passive observers, but as active participants in the ritual of seeing and being seen.
These greetings transcend casual gestures; they are cosmological acts—vessels of presence and acknowledgment, echoes of creation, moments of “Let there be…” They urge us to consider: what does it mean to see beyond the surface? To recognize not only the physical but also the spirit and the history it carries? What emerges when two gazes meet, when two voices exchange Sanibona, Le kae? In these small yet profound gestures, history moves forward across generations, identities are affirmed, and survival is honored. To see is to embrace; to acknowledge is to recognize the other fully in their existence. This act of seeing is not only surface deep—it affirms that we do not exist in isolation, but in relation—“We” as opposed to “I.”
Dac On Dorp Art Classes
This afterschool Community based Program is a vibrant youth arts initiative that brings together children aged 10 to 16 from communities across Cape Town such as Bo-Kaap, Langa, Nyanga, and Khayelitsha for creative exploration and self-expression.
Rooted in the belief that art is a powerful tool for healing and empowerment, the program offers a safe, inclusive space where young people can connect and learn from leading South African artists, photographers, designers, and filmmakers.
Through hands-on sessions in drawing, painting, film, and more, learners are encouraged to share their stories and build confidence. More than just an art class, DAC on Dorp fosters belonging, unity, and creative growth for Cape Town’s next generation.
Youth Day Celebration
Our Youth Days are a powerful celebration of creativity, community, and the enduring spirit of South African youth. Hosted in Bo-Kaap, this event honours the legacy of June 16, 1976, while creating space for young people to express themselves, connect with others, and envision a peaceful, just future.
Through art, storytelling, workshops, and shared meals, the program empowers youth to reflect on their experiences and amplify their voices. It is a day rooted in healing, expression, and hope—where creativity becomes a tool for transformation and connection.
We believe in the potential of young people to lead change. This day is dedicated to nurturing that potential, celebrating their resilience, and building bridges across generations and communities.
Lindokuhle Khumalo & David Blakc Open Studio
We recently hosted an Open Studio Session with our artists-in-residence, David Blakc and Lindokuhle Khumalo.
The session offered a unique opportunity to step into the artists’ creative environment, exploring the studio space, viewing works-in-progress, and engaging directly with their evolving artistic practices. Visitors were encouraged to ask questions, interact with the work, and gain insight into the individual approaches, influences, and methods behind each artist’s process.
Why we host Open Studios at DAC
At DAC, Open Studios form a vital part of our commitment to fostering dialogue, transparency, and community engagement within the arts. These sessions break down traditional barriers between artists and audiences, encouraging open conversation and mutual learning. By inviting the public into the often-private space of creation, we continue to support a culture of exchange, collaboration, and deeper understanding of contemporary art practices.
We were thrilled to welcome everyone who joined us to meet the artists, witness their creative journeys, and experience the energy of ideas in motion.
Le Kae
This exhibition presents the works of Manelisi Nene and Katleho Mosia. Created during their SIX WEEK residency, their works converge through the dialogue of greetings, drawing on their Zulu and Sotho heritage. Their practices unfold at the intersection of language, identity, and recognition, employing painting to extend the sacred ritual of acknowledgment into visual form.
A greeting is an act that opens a threshold, inviting us into a space of recognition. In Zulu, it begins with Sanibona—not merely a simple greeting, but a powerful invocation, a declaration that we see you, and all those who journey with you. Le kae? follows in Sotho, a question that probes our place in the world and our sense of belonging: Where are you situated, and where do you and your lineage reside in the constellation of existence? More than a question, it is an invitation—a call to gather histories and to step into a circle of recognition. It invites us to engage not as passive observers, but as active participants in the ritual of seeing and being seen.
These greetings transcend casual gestures; they are cosmological acts—vessels of presence and acknowledgment, echoes of creation, moments of “Let there be…” They urge us to consider: what does it mean to see beyond the surface? To recognize not only the physical but also the spirit and the history it carries? What emerges when two gazes meet, when two voices exchange Sanibona, Le kae? In these small yet profound gestures, history moves forward across generations, identities are affirmed, and survival is honored. To see is to embrace; to acknowledge is to recognize the other fully in their existence. This act of seeing is not only surface deep—it affirms that we do not exist in isolation, but in relation—“We” as opposed to “I.”