• Personal Accounts
    • About
    • The Giving Tree
    • a quiet rush
    • Mango Blossoms
    • Lago di Como
    • Salle d'écoute
    • Deinde Falase
    • There's a river...
  • Beloved
  • These three remain
  • Chorus
  • This song is for...
    • This song is for...
    • This song is for... vol 1
  • Berenice
  • Elegy
    • About
    • Elegy - for two ancestors
    • Elegy - 10-channel installation
    • Noluvo Swelindawo (portraits)
  • Faces of people who...
  • Roulette
  • Stumbling Block
  • Galleria Raffaella Cortese
  • Studio Goliath
  • Menu

Gabrielle Goliath

  • Personal Accounts
    • About
    • The Giving Tree
    • a quiet rush
    • Mango Blossoms
    • Lago di Como
    • Salle d'écoute
    • Deinde Falase
    • There's a river...
  • Beloved
  • These three remain
  • Chorus
  • This song is for...
    • This song is for...
    • This song is for... vol 1
  • Berenice
  • Elegy
    • About
    • Elegy - for two ancestors
    • Elegy - 10-channel installation
    • Noluvo Swelindawo (portraits)
  • Faces of people who...
  • Roulette
  • Stumbling Block
  • Galleria Raffaella Cortese
  • Studio Goliath

“The single note in Elegy is equal parts clarion call and durational rejection of mourning’s expected temporality. The performativity of Goliath’s practice lies in its metabolic urgency: its response to the necrographic commitment to one another, and to the dead whose memory comprises the shared memorial responsibility of the living.”

Zoé Samudzi
Mousse Magazine

…

“In the yet unquashed Elegy, breath moves from body to body, a fragile continuity carried in the shared labour of lungs. When one voice thins or trembles, another takes up the note, refusing extinction. The work insists on the embodied grievability of lives that structures of power would consign to the margins, restoring them to presence through the simple, radical act of collective breath.”

Heidi Thembeka Sincuba
Zam Magazine

…

“The gallery becomes a space where presence is measured not by what is said but by what is felt, where empathy and attention are active, necessary acts. Attendees leave with a heightened awareness of how much meaning exists in the unsaid, how resilience is expressed in gesture as much as in voice. This is an exhibition that lingers beyond the gallery walls, insisting that the quietest moments often speak most powerfully. Goliath reveals the extraordinary force of attention itself.”

Simon Cartwright
Aesthetica

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Statement, 18 Feb 2026

As the selected artist-curator team, we are profoundly disappointed by Justice Kubushi’s ruling. Our application was dismissed with no reasons given at this stage. The judge dismissed the application in two sentences, and a full week after hearing argument (on the afternoon of the Venice Biennale’s submission deadline for National Pavilion exhibition plans). It was also a shock to learn that she has ordered us to pay costs of the application, including costs of a senior and junior counsel. These are punitive measures, enacted against those the Department of Sport, Arts and Culture (DSAC) is mandated to support, and will certainly discourage others in the arts community from attempting to defend their constitutional rights in court.

We believe this ruling sets a dangerous precedent, jeopardising the rights of artists, curators and creatives in South Africa to freedom of expression – freedom to dissent. It goes without saying that we will be contesting this ruling through an appeal.

We are grateful to our legal team, and to all those who have encouraged us and mobilised on our behalf. We ask that you continue to journey with us, as, in the spirit of Elegy, we refuse conditions of disregard and dare to think and dream the world differently.

- Gabrielle Goliath, Ingrid Masondo & James Macdonald