Curating histories and futures

Earlier this year, the Mail & Guardian carried a story saying that the neglect of the Johannesburg Art Gallery (JAG) reflected widespread public and media sentiment that it, once a cultural jewel, had become an embarrassing symbol of institutional failure amid a flourishing creative economy.

- Heidi Sincuba

Then, days ago, on April Fool's Day no less, Currency published an article headlined: "The war has started' Gayton McKenzie." It reads like political theatre, casting the minister of sport, arts and culture as a crusader for the ruined gallery's restoration, fighting a slow, bureaucratic system, with Vuyisile Mshudulu, the city's director of arts, culture and heritage, framed as a villain.

On 27 March, a "JAG stakeholder engagement" meeting was held with artists, heritage organisations, and civic bodies. The Johannesburg Development Agency (JDA) presented its plan, led by Riaan Hollenbach of Lamela Consulting, in what felt more like a public perception management exercise than genuine consultation. The JDA will oversee the execution of urban development projects, including logistics, compliance and resources, and Lamela has reportedly been tasked with initiating renovations. The patchwork plan to revive the deteriorating gallery in crime-ridden Joubert Park included a temporary relocation of the JAG collection to Ditsong, the Standard Bank and Absa buildings, or Newtown, amid ongoing wrangling.

The timeline for this seems as wobbly as the building itself, with regulatory approvals and site preparation set for September, followed by infrastructure upgrades, and an operational launch in November next year.

The Johannesburg Development Agency detailed its planned process for relocating JAG's important collection and restoring the historic Joubert Park precinct. It outlined the roles of national and provincial bodies and its own team of heritage experts who are tasked with balancing preservation and innovation.

But achieving this balance is apparently easier said than done.