Africa, and the next edition brings together participants from Angola, Cuba, Brazil and South Africa. The third curatorial initiative I started is Working Title, which is a platform for young artists and young curators. It is essentialy a space to bring young artists and interesting ideas forward and to make opportunities where they would ordinarily be limited. When we think of your role as a leader, an instance that comes to mind is the occasion when you strongly defended the gallery as Brett Murray’s painting of Zuma with his genitals exposed came under attack. Would you like to elaborate on how the whole incident affected you and the gallery? I never wavered for a second. Throughout, I felt the need to represent our artist and his exhibition. Looking back, I think the ordeal was a blessing because I learnt so much from that experience. It set me in good stead to concentrate on ensuring that my primary belief must be in the work that is shown in
the gallery. It made me more conscious and more responsible. I understood that freedom of expression comes with responsibility. But the gallery is a neutral space and a place to effect social dialogue – all throughout and after I have continued to believe in the power of art. Are there any secrets to your success as Director? African contemporary art is fashionable at the moment. I’m not really interested in the fashionable moment. I’m interested in the discourse we’ve had for 50 years, and that we will continue to have, and that will shape art history globally. The Goodman Gallery represents artists who effect social change and who challenge unequal power structures now and will continue to do so into the future. Thank you for your contribution to the South African art industry. We look forward to the next fifty years of Goodman Gallery’s development.
Liza Essers
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