How the South African Pavilion Contradicts Its Historical Legacy
#### Genocide and the Struggle for Witness: A South African Perspective
On December 29, 2023, South Africa launched an unprecedented legal challenge at the International Court of Justice, accusing Israel of genocide in the Gaza Strip. This bold move places South Africa in a unique position on the global stage, both challenging the actions of a powerful nation and risking international and domestic backlash. Notably, South Africa’s internal divisions have surfaced, with the Arts and Culture Minister, Gayton McKenzie, seemingly defying the government’s stance.
McKenzie’s surprising action to cancel “Elegy,” a video installation by South African artist Gabrielle Goliath, from the Venice Biennale, has sparked significant controversy. Chosen unanimously by the South African pavilion’s selection committee, “Elegy” was intended as a poignant artistic response to the ongoing genocide. The committee expressed their rejection of any coercion or censorship in an open letter, emphasizing the importance of freedom of expression in cultural productions.
Gabrielle Goliath’s “Elegy” is a powerful multimedia work that has evolved over a decade, addressing themes of communal grief and remembrance, inviting audiences to reflect on current and historical atrocities. Its cancellation recalls previous acts of censorship in the art world, reflecting broader tensions around artistic freedom and political expression.
This incident mirrors past controversies, such as the Whitney Museum’s cancellation of an exhibit centered on Palestinian mourning and the dismissal of Artforum’s editor over a Gaza ceasefire letter. Such events highlight the intricate balancing act between artistic freedom and political sensitivities.
South Africa’s legacy as a symbol of resistance against oppression is challenged by McKenzie’s decision, which some see as a misplaced nationalism in the face of global injustice. This move risks undermining South Africa’s long-standing commitment to confronting systemic injustices, echoing broader issues of xenophobic violence within the country.
The debate over “Elegy” underscores the critical role of art in confronting societal issues. South Africa is urged to utilize platforms like the Venice Biennale to showcase its dedication to creative freedom and social justice, rather than succumbing to pressures that stifle artistic expression. Restoring “Elegy” to its rightful place at the Biennale would reaffirm this commitment and allow it to continue its vital role as both a reflection of wounds and a means of healing through shared cultural experience.