South Africa’s traumatic social history, its remarkable transformation and its diversity of culture and landscape, is a crucible for creative engagement. NIROX offers residency to international and local artists, providing insight and access to the region’s extraordinary cultural and environmental heritage. Conversely, artists bring their spotlight into the region. The program has no predilection for style or dogma, emphasizing work that is relevant, challenging and uplifting.


Principal Residence: Large two-bedroom house with 100 sq meter double volume studio and office, lounge, dining area and entertainment facilities.

Cottage: Comfortable two bedroom self-contained cottage with 40 sq meter adjoining studio.

Sculpture workshop: An 80 sq meter workshop adjoining the principal residence.

Coolroom Studio: A 170 sq metre independent garden studio with screening room.

Services: Fully staffed, full board accommodation with internet connection and all modern conveniences.

Khatlhampi Private Reserve: Resident artists have access to the Reserve with qualified game rangers and, if they require, arrangements can be made for assistance from palaeontologists, geoscientists and speleologists who are able to give a deep insight into the unique surroundings.

Cradle of Humankind: Access to palaeontology and archaeology: Within 47,000 hectares of protected UNESCO approved Cradle of Humankind World Heritage Site. World renowned Sterkfontein Caves, Malapa and many other significant active hominid working sites.


NIROX provides free full board, fully serviced accommodation and studio facilities. Managerial and curatorial staff assist artists to fulfill their residency objectives.

Artists are required to provide their own international and local travel & production costs. The foundation will assist in efforts to obtain sponsorship from country culture desks & other interested institutions.

NIROX is 45 min from central Johannesburg and Tswane; 60 min from OR Tambo Airport; and 20 min from Lanseria Airport.

Sterkfontein Composers Meeting | 20th February to 2nd March 2017 Michael Blake | Ivo Nilsson | Jonny Axelsson


The Sterkfontein Composers Meeting is a masterclass for composers, both young and emerging composers as well as professionals, held at the Nirox Foundation. It was established to fill the need for a creative space where cutting edge composers from both academic and non-academic environments could share ideas and develop work together, with some of the best international new music specialist performers in residence. The unique setting provides the ideal environment in which this can be facilitated.


Under the direction of Michael Blake and with a guest faculty of performers/composers, the daily programme includes time for composing, workshopping of pieces by the performers, seminars, presentations, individual tutorials and informal discussions. Guest lecturers have included Paul Hanmer and Jean-Pierre de la Porte. As Nirox artists in residence, the faculty is based at Nirox, and the composers stay in nearby peaceful surroundings, where they can work before and after attending the daily meetings at Nirox.

For more info : Sterkfontien Composers Meetings

Godfried Donkor | 8th December 2016 to 10th February 2017


Godfried Donkor

Photo: Jutta Melchers

Godfried Donkor’s People of Utopia

As an artist straddling continents and cultures, Godfried Donkor is interested in historical, sociological issues, and, in particular, the shared history of the peoples of Africa and Europe. Against this background ,he reflects on the commercialisation of people in all its facets, a complex of themes that runs like a red thread through his individual work cycles.
Godfried Donkor frequently uses newspaper pages (such as the stock market figures from the Financial Times) as background for his collages. On these sheets with their rows and column of numbers his “People of Utopia”, who are often depicted as saints, occupy a central position. Mostly, the depicted figures are shown arising from cross-sections of old sailing ships, a metaphor for the transportation of slaves from West Africa to the New World.
Whether a boxer, a football player or a pin-up girl, they are all worth the same in human “goods” trade, starting from its most extreme form, slavery, to subtler variations in sport or in the entertainment industry.

Ayana Jackson | 14 October to 15th November 2016


B i o g r a p h y Ayana V. Jackson’s work seeks to crystallize the experience of contemporary Africa and African diasporic societies. She combines honed technical skills with richly laced historical allusions to create hauntingly candid portraits that depict varying constructions of African and African-American identities. She does this through several photographic approaches ranging from reportage and portraiture to performance and studio based pracIce. Based between Johannesburg, New York and Paris, Jackson has exhibited her work in associaIon with Gallery MOMO (Johannesburg, RSA), Galerie Baudoin Lebon, (Paris, FR), Primo Marella Gallery (Milan), Galerie Sho Contemporary (Tokyo, Japan), and the San Francisco Mexican Museum (USA). She has received grants from the Marguerite Casey FoundaIon as well as the French InsItute, the latter supporIng her parIcipaIon in the 2009 Bamako African Photography Biennial. Public art exhibiIons include, The Space Between Us in associaIon with Ifa Gallery (Berlin/ Stuttgart) and Round 32 of Project Rowhouses in Houston’s 3rd ward (USA). Her photography has been featured in publicaIons including the exhibiIon catalogue for Poverty Pornography & Archival Impulse produced as a collaboraIve effort between her Paris and Johannesburg galleries (2013), the exhibiIon catalogue for her series African by Legacy, Mexican by Birth (produced in collaboration with writer/filmmaker Marco Villalobos in 2006), as well as academic journals n.paradoxa, “Souls: A CriIcal Journal of Black PoliIcs, Culture, and Society” (Columbia University), and art reviews such as Art South Africa, Art + AucIon, Camera Austria, Afrique in Visu, Proximo Futuro/Next Future (Gulbenkian FoundaIon) and Dutch based ZAM magazine.

Pelagie Gbaguidi | 11 November to 1 December 2016


Pélagie Gbaguidi was born in Dakar in 1965,from Benin.She graduated from the School of Fine Arts in Liège (Belgium) in 1995.

I re- discovered ‘the black code*’ in 2004 during a artist’s residency program in Nantes at a book fair (*decreed in Versailles by King Louis XIV in March 1685 the Black Code or Edicts Declarations and Decrees regarding the Discipline and Trade of Negro Slaves in French Islands of America was not revoked until 1848 the year in which slavery was abolished). After months of immersion it has become clear to me that it is time to de-mystify slavery as a unique phenomenon particular to the black race, rather to view it as part of universal patrimony. It has helped me to link the problems of racism and xenophobia, past and present, north/south or east/west… as essentially economically based. The deep impression made by this book and the images that obsessed me, configured an entire body of sketches/ paintings/ photographs/ drawings… that group together under a single tentative title: Le Code Noir.

In 2008, she was invited in the program IFAA, thinking about the subject ART MIGRATION IDENTITY , she proposed this reflexion on: Art- My Work in Progress is an utopia who question the world in which we lived. Is still and always this kind to question the human in what he is. Maybe to try to answer to this question : « with what theme do you work ? With no theme, is life a theme ? « I reflect on the mistakes of the past, to try to understand what we have fallen into ».

Migration- The day we no longer speak of multiculturalism,of the richness of pluralism, we’ll cease to speak about humankind. Identity- from the collective to individual, it incorporates everyone. But its discourse engenders passionate debates as soon as it refers to African Art. I think it’s a trap, a ghetto one must run from. The grand illusion of these big identity debates is about moving alongside the Self, that is, toward the Other.

In a more personal way, she wrote a few years ago that : « I think fundamentally that identity, on the whole, far exceeds any partisan split between what is or not ‘African’,what is a part of or foreign a given territory. I aim to sharpen the awakened conscience of what I ‘am’ to better convey it to future generations ; and who I ‘am’ is

Mia Chaplin | 5 November 2016 to 28 November 2016


Mia Chaplin (b.1990 South Africa ) completed her BFA at the Michaelis School of Fine Art in Cape Town in 2011. Working in oil on canvas and paper, her highly expressive works are characterised by their rich impasto surfaces and visible brushstrokes. Chaplin has recently completed an artist residency programme at OBRAS Foundation in Alentejo, Portugal. She lives and works in Cape Town, South Africa.

Selected Exhibitions and Fairs

2016   Cape Flower Show, The Castle, Cape Town

2016   Mia Chaplin: Binding Forms, WHATIFTHEWORLD, Cape Town

2016   Sewing Paradise, Irma Stern Museum, Cape Town

2016   FUGLY, Die Voorkamer, Cape Town

2016   For what it’s worth, No End Contemporary, Johannesburg

2016   No Man’s Art Gallery, Shanghai

2016   South African Art Exhibition, Galerie Patries van Dorst, Netherlands

2016   No Man’s Art Gallery, Tehran

2015   New Voices 01, WHATIFTHEWORLD, Cape Town

2015   Out of Context, UJ Art Gallery, Johannesburg

2015   Pink!, Die Voorkamer, Cape Town

2015   Paint it Black, Salon91, Cape Town

2015   Surface: Emerging South African Painters, Barnard Gallery, Cape Town

2015   Cape Town Art Fair, The Avenue, V&A Waterfront, Cape Town

2015   That Art Fair, The Palms, Cape Town

2015   Wet Paint, Die Voorkamer, Cape Town

2014   Florabunda, Die Voorkamer, Cape Town

2014   SA Art Now Now, No Man’s Art Gallery, Amsterdam

2014   Art in Red Light #10, Art Fair, Amsterdam

2014   Cape Town Art Fair, The Pavillion, V & A Waterfront, Cape Town

2014   Turbine Art Fair, Johannesburg

2014    Mia Chaplin: Ceremony, Salon 91, Cape Town

2014   Cubicle, Infecting the City Public Arts Festival, Cape Town

2013   Cape Town Art Fair, The Look Out, V & A Waterfront, Cape Town

2013   In Good Company, Irma Stern Museum, Cape Town

2013   Collections and Archives, Salon 91, Cape Town

2013   One in a Million, Salon 91, Cape Town

2013   I’d Rather Be Swimming, Salon 91, Cape Town

2012   Impression: Sunset, Salon 91, Cape Town

2011   Mia Chaplin: No Place, Michaelis School of Fine Art

2010   First Edition, These Four walls Gallery, Cape Town


2015   LAKE magazine cover and interview ‘Butter Curls’, by Rick De La Ray, LAKE #003, March 2015

2015   Interview With Mia Chaplin by Andrew Berry for we-are-awesome,, March 2015

2015   Artists We Love: Mia Chaplin, Interview by Lindi Brownell Meiring, VISI (online), January 2015

2014   Mia Chaplin by Tim Leibbrandt, Art South Africa, Volume 12, Issue 04, June 2014

2014   7 Emerging Contemporary Painters you need to know about by Leyla Leiman, Between 10 and 5

2013   Featured: Mia Chaplin by Jessica Hunkin, Between 10 and 5





Artists have no fixed work imperative but are required to leave an artwork for the Foundation’s collection; and participate in building the archival records of the residency

Artists are exposed to, and are encouraged to exchange ideas with, local artists, scientists, institutions and communities. Collaboration and establishing mutual networks, is encouraged.

NIROX’s reach into local life provides meaningful contact across all cultures and stimulates engagement with museums, galleries, institutions and academia.


Jake Aikman
Sophia Ainslie
Akindiya Akirash
Zuleikha Allana
Anna Nordquist Anderson
Beth Diane Armstrong
Steve Bandoma
Valerio Berruti
Atul Bhalla
Peter Bialobreski
Caroline Bittermann
Michael Blake
Sean Blem
Dineo Bopape
Willem Boshoff
Eric Bourret
Franki Burger
Carla Busuttil
Mira Calix
Clifford Charles
Rebecca Chesney
Mat Chivers
Zuleika Chaudhari
Priyanka Chaudhary
Marco Cianfanelli
Alain Clement
Hannelie Coetzee
Steven Cohen
Ruann Coleman
Christian Courreges
Ingrid de Kok
Thomas Demand
Auke de Vries
Barend de Wet
Tatjana Doll
Chris Drury
Marlene Dumas
Michel Duport
Paul du Toit
Alinka Echeveria
Victor Ehikhamenor


NIROX collaborates with local museums, galleries and academic institutions. It has good working relations with leading local curators. It augments the commercial arts community, without competing and without favor. It is intimate with the local arts media and has good knowledge of the local market.


NIROX collaborates with local museums, galleries and academic institutions. It has good working relations with leading local curators. It augments the commercial arts community, without competing and without favor. It is intimate with the local arts media and has good knowledge of the local market.