BASIC REALITY / 2011

About

BASIC REALITY

Text by Katrin Lewinsky

The art exhibition Basic Reality is not a curated exhibition. As the artistic
positions existed prior to the invitation, it is the artists’ present context that
relates to this exhibition. The exhibiting group of South African artists provide
examples of contemporary art mainly produced in South Africa between
2010-2011. The exhibition exists alongside current creative processes and
contributes to their development within a public interface. It is at the same
time to be seen as a medium in itself, created and completed by the artists.
This exhibition is unique and can’t be repeated. Goodman Gallery takes the
position of a commercial production partner offering the artists advice and
curatorial dialogue.
In this sense Basic Reality is a conceptual exhibition. It is formulating a liberal
progress of reference for contemporary art. It contains a neutral perspective
towards the possibilities of exchange between the media art and public in
order to relate to and establish processes of reality.
In the following conceptual text a theory on reality is introduced as part of a
greater philosophical discourse and as a consideration for statements on
contemporary art, like this exhibition. For the interest of relating to the artists
and the exhibited artwork outside of the theoretical concept on reality, selfreferential
artistic statements form a main component of this exhibition.
…………
Theoretical text as a philosophical background and basis of discussion
The world can be seen as completely catalogued and analysed and then,
almost as compensation, artificially regenerated as if this were the reality. And
it is by these artificial strategies that we, all being specimen of ethnology,
here, in a metropolis, in all forms of society, try to live with representations of
reality. This common state assumes that none of our societies know how to
manage their social self, their power, their reality.
In this sense, the real that we experience is not reality. A basis for the
development of various structures: a growth of the true, of the lived
understanding for anthropological structures such as religion, technology,
language etc. There is a utopian culture that is conditional to human
awareness of, for example, a return of the metaphorical without object and
substance; of creations of idealistic models such as melancholy, of myths of
origin and signs of reality; of truth, objectivity and established authenticity.
Furthermore, a frantic production of the real and the referential exists, greater
than and similar to the madness of material production. We create visible
continua, visible myths of origin as existential evidence for the ultimate belief.
We correlate to productions of systems, commodities, of political economy
and of over-production. This is the restitution of the real that society has
developed to remove itself from. This is a hyperreality.
This hyperreality implicates an anti-form to every principle and objective.
And thus also to an interesting current principle in our society: the code of
capital. Capital is a challenge to society. It was capital that was the first to
feed, throughout history, on the destruction of every referential, of every
human goal, which crushed every ideal separation of the good and the truth
and their counterparts in order to establish a radical law of equivalence and
exchange, its law of power. It was the first to practice abstraction, severance,
deterritorialisation, etc. If capital has generated reality, its reality principle
exterminates the use of value, of real equivalence, of production and wealth.
In this system another evaluating strategy is simultaneously manifested:
power. This capacity shall be mentioned here as for a certain period it has the
disposition to assemble only signs of an affinity and the figure of a collective
demand for its signs. Those signs are equivalent to a setting, which is not a
principle, and more substantially not an ideology, as ideology does not relate
to reality or power, only to its infidelity.
Reality is evident in modes of power, as it is real in anything that is situational.
While ideology aims to restore the objective process, especially those of
common standards, this causes pretentious problems with restoring the truth
beneath a setting. This dynamic leads to the reason why power is so in
agreement with ideological discourses, for these are all discourses of truth
that always establish a good and avant-garde quality.
Art, and contemporary art in this context, of the matter of reality and its
structures of acceptance, manipulation and anticipation in our society, has
the power to create realities. In the existing scenarios art is closer to reality
than any other form of artificial production. Art inherently expresses critical
conditions, abstraction and redemption of the status quo. As a creative selfreferential
system it is not dependant on any form of power, reality, hyper
structure and capital, on any existential and ethnological conditions. Art has
thus by its immanent reduced artificial conditions, have the ability to settle the
basic conditions of the society to participate and create reality. Every art
exhibition is an opportunity to experience the visualised expressions of this
basic reality.

  • Steeped in Burning Flowers

    Steeped in Burning Flowers, 2011

    Concrete, mineral crystallization and time.

  • Indoda

    Indoda, 2011

  • Tell Me What to Swallow

    Tell Me What to Swallow, 2009

    Variable

  • Carpet No 1: ‘Open tent for contemplating the cosmic origins of art’

    Murray Kruger

    Carpet No 1: ‘Open tent for contemplating the cosmic origins of art’, 2011

    Performance

    Variable

  • Afronaut’s Right Boot (Prototype 1)

    Gerald Machona

    Afronaut’s Right Boot (Prototype 1), 2011

    Silicone, ZWD currency, cloth

    33 x 10 x 8cm

  • Inside Outside

    Inside Outside , 2011

    Oil, acrylic on canvas

    50x50 cm

  • Moving Past

    Moving Past, 2011

    Relief print on semi-transparent paper chine colle on Hahnemühle Copperplate

    54 x 78.5 cm

  • Untitled (Speaker box)

    Tiffany Mentoor

    Untitled (Speaker box), 2010

    Wood, plaster, automotive paint, speakers

    95 x 70 x 33 cm

  • Inqaba

    Inqaba, 2011

    Wearable Art Piece

    165 x140cm

  • Inqaba

    Inqaba, 2011

  • City of Johannesburg

    Monique Pelser

    City of Johannesburg , 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Six Stars

    Monique Pelser

    Six Stars, 2011

    Archival Pigment Ink Print

    18 x 26cm

    Edition of 5

  • Pair of leather gloves

    Monique Pelser

    Pair of leather gloves, 2011

    Archival Pigment Ink

    18 x 26 cm

    Edition of 5

  • Parade formal footwear

    Monique Pelser

    Parade formal footwear, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • The Holy Bible (El-Paso leather ankle)

    Monique Pelser

    The Holy Bible (El-Paso leather ankle), 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Six plated t-spoons in a blue leather box

    Monique Pelser

    Six plated t-spoons in a blue leather box, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Suspenders

    Monique Pelser

    Suspenders, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Photograph of police dog

    Monique Pelser

    Photograph of police dog, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • One new South African flag

    Monique Pelser

    One new South African flag, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • A pipe smoking set

    Monique Pelser

    A pipe smoking set, 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Thirty-two bullets

    Monique Pelser

    Thirty-two bullets , 2011

    Archival Pigment Ink Print

    18 x 26 cm

    Edition of 5

  • Thembi Mathebula or Nzimande, Siyabuswa, former Kwandebele

    Thabiso Sekgala

    Thembi Mathebula or Nzimande, Siyabuswa, former Kwandebele, 2011

    Color photograph on fibre paper

    90 x 90 cm / 90x90 cm

    Editi...

  • Pankop, Passage dividing primary and high school, former Kwandebele

    Thabiso Sekgala

    Pankop, Passage dividing primary and high school, former Kwandebele, 2009

    Color photograph on fibre paper

    60 x 60 cm / 60x60 cm

    ...
  • Mawilli Thubane, Loding, former Kwandebele

    Thabiso Sekgala

    Mawilli Thubane, Loding, former Kwandebele, 2009

    Color photograph on fibre paper / Inkjet fibre print

    60 x 60 cm / 90 x 90cm

  • Koketso, Sehoko

    Thabiso Sekgala

    Koketso, Sehoko , 2010

    Color photograph on fibre paper

    30x30 cm

    Edition of 10

  • Semotlhase, former Bophuthatswana

    Thabiso Sekgala

    Semotlhase, former Bophuthatswana, 2009

    Color photograph on fibre paper

    30 x 30cm / 30x30 cm

    Edition of 10

  • Die Oertel Wat My Pla

    Jacques du Toit

    Die Oertel Wat My Pla, 2011

    Variations in dimensions and content

    Edition of 10

  • Haainrieg Tomidaakis in Studio

    Jacques du Toit

    Haainrieg Tomidaakis in Studio, 2010

    Archival Print on cotton rag paper

    61x28 cm-framed

    Edition of 10

  • Haainrieg Tomidaakis  se Stories Vol.3

    Jacques du Toit

    Haainrieg Tomidaakis se Stories Vol.3, 2010

  • Inqaba

    Inqaba, 2011

    Wearable Art Piece

    165 x140cm

  • Installation picture [BASIC REALITY / 2011]