Paper short abstract:

Silence may be a common practice in the tradition of the white cube, but becomes interesting when explored as a social mechanism of power in the gallery. This paper examines how social practices of silencing during gallery events can point to the working of power structures in the art world.

Paper long abstract:

Rosebank is a suburb of Johannesburg that prides itself on high-end shopping and a European flare, hosting some of the most developed and longest standing galleries in South African's contemporary art world. Art openings and gallery walkabouts undoubtedly encourage specific gallery etiquette and social engagement with an audience made up of primarily middleclass Joburgers. In this paper I draw on ethnographic material collected in 2017 to read the silences of Rosebank to bring forth a better understanding of how they work to reinforce specific power structures and accessibility to this art world. Moreover I examine how silences and outbursts work as mechanisms in a broader apparatus of privilege in this particular art world, questioning whether an apparatus of such can incorporate notions of autonomy. I focus on two gallery events which evoked public outbursts by audience members in order to make visible the social boundaries of an art world located within Rosebank but also linked to larger international structures.