From sculpture to song, a day of art and reflection

Nirox Sculpture Park is easily one of Johannesburg’s greatest treasures. Tucked away in the Cradle of Humankind, west of the city, it spans 30 hectares of lawns, fields, waterways, and wetlands, dotted with over 50 permanent and long-term sculptures by both local and international artists.

On weekends and public holidays, it transforms into a space where art and nature meet and on August 30, it became the stage for The BMW Art Generation Vol. III.

Presented by FNB Art Joburg in partnership with BMW Group South Africa, this third edition of the Art Generation built on its reputation for bold, immersive programming that celebrates creativity and dialogue.

This year’s theme, “A Tropology Between Image and Imagination”, asked artists and cultural thinkers to explore how symbolism, gesture, and form can reclaim histories while shaping speculative futures. Through this lens, the festival underscored imagination as a methodology, spotlighting African presence in all its depth and nuance.

The experience

Luxury was also on display, with BMW showcasing its latest electric vehicles, sleek, powerful, and priced at around R2.7 million. But the heart of the day lay in the art and performances.

The guided art walk offered thought-provoking encounters with works by Michele Mathison, Ndoro, Angus Taylor (Morphic Resonance, 2014), and Ayana V. Jackson (Faux Cul VI–X). Each piece carried weight, touching on themes of apartheid, colonial invasions, displacement, and body image.

The live music added another layer of magic to the experience.

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Muneyi opened with garden affirmations before moving into soul-stirring performances of songs like Ndi a Ni Funa and Ndi Mu Wana in his home language, Venda. His voice, described by one guest as “our love language,” filled the park with intimacy and reflection. It was so great seeing him again, and I highly recommend experiencing his performance if you ever get the chance.

Msaki’s comeback performance was a deeply emotional highlight. Backed by guitarist Thabo and violinist Stella, her set carried vigour, vulnerability, and pure joy at being back on stage. She also brought Muneyi to the stage, a surprise delight as their voices blended beautifully.

The legendary Sipho “Hotstix” Mabuse brought timeless energy, reminding us why he remains one of South Africa’s most loved performers.

Beyond performances, conversations anchored the programme. Panels unpacked the theme of image and imagination, tracing how artistic practices take form while weaving memory with vision.

The highs and the lows

The organisation of the event was seamless, from the setting to the flow of performances. But it wasn’t without hiccups; food stalls ran out early, leaving guests with drinks but little to eat. And in broader discussions post the event, a recurring critique of the art world resurfaced: despite efforts to reach wider audiences, the market often remains elitist, posh, and inaccessible to many.

It raises important questions. Can events like The BMW Art Generation truly bridge that gap? Or do the luxury brands, venues, and price points only reinforce existing divides? These are the tough but necessary conversations the art world must continue having.

Despite it all, The BMW Art Generation Vol. III was an inspiring blend of art, music, and reflection in one of Joburg’s most beautiful settings. Between the sculptures, performances, and conversations, it left me with a lingering sense of possibility and a reminder that art’s greatest power lies in its ability to challenge, connect, and imagine futures beyond the present.