May - October 2019 | VIAD & JAG


VIAD and the Johannesburg Art Gallery (JAG) are excited to announce a series of consultations, panel discussions, focus groups and workshops, running between May and October 2019.

Conceived by JAG Chief Curator Khwezi Gule, as well as curatorial staff members at JAG and VIAD, the objective of these consultations will be to facilitate a set of outcome-orientated discussions addressing key issues faced by JAG, but that also speak to the politics of the broader arts and culture context in South Africa, the Continent and beyond.

12 May / Museums for whom, museums for what? / Public panel discussion convened by Khwezi Gule (Chief Curator, JAG). Panelists include: Thomas J Lax (MoMA, NYC), Ingrid Masondo (IZIKO SANG), Molemo Moiloa (MADEYOULOOK) & Cláudia Rocha (MnBA, Rio de Janeiro). With an introduction by William Kentridge.

15:30 for 16:00 / Centre for the Less Good Idea, Maboneng / RSVP

1 June / The issue of repatriation | African objects from JAG collection, as well as historic collections from other local institutions / programme details TBC

Johannesburg Art Gallery / details TBC

22 June / JAG | Ramifications of the recently established private museums on the arts landscape / programme details TBC

Johannesburg Art Gallery / details TBC

Future sessions to be announced in due course.

For more information, contact:

James Macdonald (VIAD) | email

Musha Neluheni (JAG) | email


Museums of art have played a significant role in the way that the modern state has sought to define the public good. However, history has demonstrated that the subject of modernity has often been very narrowly defined according to race, nationality, gender, geography class, etc… - with the rest of humanity becoming mere subjects. Whereas post-colonial critique, class analysis and gender politics have vigorously interrogated the institutional, discursive as well as representational models of the modern museum of art, for the most part existing hierarchies have remained stubbornly intact. In addition to this, the socio-political and economic constitution of traditional museum audiences has shifted in such a way that the issue of transforming museums is no longer an abstract premise but a matter of survival. The question is: are museums willing and able to re-imagine themselves in the radically new conditions in which they find themselves? Are Museum professionals and museum administrative arms able to succinctly identify, craft and implement new methodologies that can speak to new audiences and constituencies?

Khwezi Gule, Chief Curator, Johannesburg Art Gallery