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Banele Khoza is a star in the South African art world, known for his unique vision and innovative approach to gallery curation.
As the owner of BKhz, a contemporary art gallery located in Johannesburg, Khoza is committed to showcasing the work of emerging artists and also promoting new voices in the industry.
At his gallery, he has established a reputation for giving a platform to a wide range of artists and styles. His curatorial approach is marked by a deep commitment to exploring themes of identity, belonging and social justice, and his exhibitions often challenge viewers to engage with complex issues in new and unexpected ways.
In addition to his work at BKhz, Khoza is also an accomplished artist in his own right, having received the Gerard Sekoto Award in 2017 and being selected as one of the Mail & Guardian's 200 Young South Africans in 2019 - among other accolades. He has had solo exhibitions in galleries and institutions in South Africa, France, Germany, Belgium and the Netherlands.
He talked to News24 about his journey in the art industry, building a diverse and inclusive space in his gallery, and his advice for entrepreneurs and artists looking to break into the art world.
Please tell us about yourself and how you got started in the art industry?
I am a visual artist, gallery owner and curator. I began my professional art journey in 2013 when my paintings were discovered on social media - this was in my second year at university.
My practice has always been personal – whatever thoughts my mind is currently preoccupied with often make their way into my work. Working from a place of honesty has been a recurring theme over the years, both in my artistic practice and in my approach to other projects.
When did your curatorial journey begin?
My journey began in 2015. I was bothered by the fact that artists who had sharp voices weren't sharing the same platform or getting the same attention as me.
In 2018, after a dream dinner with a collector and leading practitioner in Paris, I realised that more seats were needed at the table – literally and figuratively. I returned from France after that three-month residency to open BKhz in Braamfontein, at the age of 24.
This was my chance to invite artists and creatives who were already friends, and those who'd become friends over time, to share their work with an audience that was focused on me.
Can you talk us through the role that your identity as a black person plays in your work as a gallery owner, and how this informs your curatorial decisions?
This past weekend, I was reflecting that being black has so many tiers of experience and each tier unifies us (others could feel it separates us).
I deeply empathise with each experience. Why I bring this forward is because, as a gallery owner, I realised that for a while we haven't had many spaces that focused on black narratives.
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In the past, I would hear that I was the artist of the moment/man of the hour. Hearing this repeatedly made me realise that someone else would be taking my space once my window passes. So, starting BKhz was me offering a sense of comfort to artists and myself (within my art practice) that the work we do isn't just a moment, but a lifetime's investigation.
We have just started scratching the surface within our curation and are excited to bring in artists who want to work with us. I find joy in seeing continued support for a space dedicated to narratives of people of colour.
How have you worked to build a diverse and inclusive space in your gallery, both in terms of the artists you represent and the audiences you attract?
Something that has remained a focus in the spaces BKhz activates is looking at the architecture of the space. I have preferred spaces that are immediately accessible, without physical barriers to entry. Spatial politics is so important to consider.
Currently, our ground-floor location at Keyes Art Mile has a completely open façade on street level. This makes it a bit easier for a curious onlooker to wander in without second guessing whether they are "allowed to" or worrying about protocol.
Traditional gallery spaces have not generally been inclusive for us, so consequently it can be very intimidating to visit a gallery.
I want everyone that visits BKhz to feel comfortable to engage, regardless of who they are or what their background is. Furthermore, intention in everything we do is important for us.
Inclusivity is a big part of BKhz's intention. The team, who often have a lot on their plates, always strive to make the space as welcoming as possible.
With each showcase, BKhz becomes a stage for worlds to manifest.
Clear examples are Oratile Papi Konopi's 2022 solo exhibition - "O Tshwana Le Ênê" - where he fused his Fine Art disciplines with that of composer and pianist Tshepo Tsotetsi as well as AmaPiano DJs Don Cappelli and DJ Exotic.
In December 2022, we opened a show, titled "If not now, then when", which included 15 artists. The exhibition was, in part, a demonstration that diversity in ideas, life experience, race and gender can exist in one space, without diminishing anyone's being.
Our audience is growing and also becoming more diverse too - it's beautiful to see people come together, be at ease and feel cared for, all in the name of art.
How do you see your gallery contributing to the larger cultural landscape of South Africa, and what impact do you hope to have on the art world in a broader sense?
BKhz affirms possibility and validates, on a high level, the existence of the under-represented - their ideas, voices, feelings and ways of being.
We have many unofficial policies, one of them being "come as you are".
There is a desire to have people experience their worlds in fun, free and authentic ways. Here in South Africa (and potentially globally), the gallery is allowing art and culture to feel more accessible to everyone.
Beyond presenting artworks, the space has become a connection point for people from all walks of life. The team is currently preparing to open a pop-up gallery in Cape Town. This is another way for us to be infected by the ideas and spirits of another world and also bring together all the incredible energies we've gathered in Johannesburg or Durban or Paris.
New imaginations come alive when everyone feels free to participate, and feel that their efforts will be properly recognised.
History will tell more stories of our impact.
Can you share some of the challenges that black artists face in South Africa, and how your gallery works to address these issues?
I'll share three challenges:
Black-owned spaces (residencies, galleries, museums/foundations) are still missing on the map, far past South Africa. Globally.
Financial security in the form of constant and consistent opportunities.
Collectors that will hold emerging voices, with the difficulty of the global economy.
Being open and seeing this as a marathon is the answer to some of the issues. BKhz might be working in a small scale, but the impact is beyond measure. We also might not immediately be attending to the above, but individuals are inspired to consider holding the space.
What advice do you have for other entrepreneurs and artists looking to break into the art world?
We very often fall into perfectionist thoughts about starting something, we want conditions to be perfect before starting.
I learnt early that I did not have to have the best equipment to start, very often you are only able to afford that 3-5 years after.
Once you have the basics, focus the rest of your earnings on investing back into your business. You do not need new toys all around - that very often ends up holding you back with sustaining your business.
I have learnt to live below my means, that way I am able to see to my business in its different seasons.
For artists, make for yourself and not for the market. This is how you sharpen your voice.
BKhz gallery is located at 21 Keyes Avenue, Rosebank, Johannesburg.
