Wednesday, September 12, 2012
There were those in the art community who believed that if he had spoken publicly about the work and explained his intentions, the conflict which the artwork provoked may have been avoided.
On Thursday evening, at the opening of the FNB Joburg Art Fair (JAF) at the Sandton Convention Centre, Murray broke his silence in quite a literal manner with a large scripto-visual artwork presenting the word "silence".
This new artwork, titled Dissent, was discreetly displayed inside the Goodman Gallery's stand. However, it proved to be one of the most talked-about works at this annual event. Once again Murray has chosen not to speak about the work, so viewers at the fair were left to make up their minds about what it might signify. Coming so soon after The Spear debacle, the work does suggest that the pressure the ANC placed on the Goodman Gallery and the artist to withdraw The Spear from public display was tantamount to censorship.
This performance for the Drama for Life festival wasn't anything new. Taking to Joburg's inner city streets as part of a cultural adventure, a way of mapping, and challenging invisible boundaries, and coming to grips with "the other" has quite peculiarly become a (predominantly white) middle-class pursuit. For those who live or pass through the inner city this is everyday life. Underpinning this drive for the middle classes to steep themselves in inner city life is the compulsion to confront "the real Joburg" - that is, the inner city that was abandoned (by white people) from the late 1980s and fell into a state of entropy. Of course, no part of Joburg is more real than another.
The Goethe Institut's New Imaginaries initiative is feeding off this trend, expanding its cultural scope. Its recent Shoe Shop project, which was the first installation, may have centred on migration and movement, exploiting the metaphor attached to urban strolls, but it was significant that one of the key events was a street parade from Braamfontein to the Drill Hall in the inner city that further ritualised this desire to penetrate, confront and reconcile with the "real" Joburg.