Keely Shinners
              Just 300 meters away from A4 Arts Foundation is the Castle of Good Hope. Built by the Dutch East India Company in the seventeenth century, the oldest surviving colonial building in Cape Town stands today as a symbol for a set of interwoven colonial relations: land expropriation, capitalist accumulation, racial subjugation, environmental degradation. Its very architecture—the pentagonal bastions, the high stone wall, the garrison, the prison—epitomizes the strategies at the heart of these formations: to dominate and exploit the commons. In South Africa, these strategies were articulated during colonialism, elaborated by Apartheid and endure, structurally and systemically, to this day. Curated by Khanya Mashabela, “Common” asks how artists and activists, past and present, negotiate this destruction of the commons and its commensurate social relations. The first artwork one encounters upon ascending the stairs at A4 is a telling example of what is at stake in this exercise. Sue Williamson’s twelve photographs document Naz and Hari Ebrahim’s final weeks in a home marked for demolition in Cape Town’s District Six. Declared a whites-only area by the Apartheid state, the family was evicted and their home bulldozed in 1981. In those final days, amidst cups of tea and cigarettes …

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