Long a pariah both politically and culturally, South Africa has
bounded back from the margins of the international art world with a
significant event that breaks its apartheid-era isolation and gives
long-overdue attention to black township art.
The country is celebrating its reentry with the first arts
festival of its kind in southern Africa -- the two-month
Johannesburg Biennale -- a blitz of international and local plastic
and visual arts.
Some 300 artists from 60 countries have joined 150 local artists
at galleries scattered across the city for the largest contemporary
art event ever held on the continent.
The festival is timed to coincide with the anniversary of South
Africa's first democratic elections, held in April 1994. Organizers
say it has helped end the marginalization of black South African
artists within their own country and abroad.
"The biennale is a celebration of South Africa's new democracy.
It celebrates the country's reentry into the international cultural
arena after two decades of isolation," says Bongi Dhlomo-Mautloa,
one of the organizers. "This event would not have been possible
even two years ago."
The festival, which opened at the end of February, follows the
footsteps of the tradition begun in Venice and mirrored in cities
across the world in recent decades. The themes were chosen to
reflect the radical transition to black majority rule:
"Decolonizing Our Minds" and "Volatile Alliances."
"The issues are hot in contemporary art politics, but in some
cases, there has been no visual art production concerning things
that are of increasing concern to South Africans -- for example,
land rights issues," says Lorna Ferguson, biennale coordinator.
"The cross-pollination of ideas will be one of the most important
results of this event."
The epicenter is appropriately located in the Newtown Cultural
Precinct, the site of the Market Theatre complex that was the focal
point of protest art during apartheid. The biennale has provided a
perfect pretext to expand the complex, with a new workers' library
and museum, cafes, and galleries in a converted warehouse that
organizers say will be permanent installations.
The exhibits have awed South Africans long starved for art.
"This is absolutely incredible; it makes Johannesburg a normal
place at last," mused South African painter Ruth Rosengarten, who
has lived in exile in Europe for some 20 years. "Maybe it's time to
come back now. …