Archive for March, 2018



Minimalism in the 1980’s signified the end of art because it was a way of negating the past and ignoring the present. With minimalism there was no room for the past. The message is the same as Huxley’s Island birds: “Here and Now, Boys”. It makes a vacuum of the present, leaving the signified a space to artificially expand consciousness fractal-ly, hence, the growth of particle thinking, which has led to a conceptual view of the world. The conceptual experience is the zooming in on the fractal matrix.

For the artist this has meant a loss of style and the introduction of a non-style.

>> Enter the content without context (con-ceptual art).

The masters of this charade in South Africa are: Kendal Geers; Wayne Barker; Piet Pienaar and Co. (the new order Wit gang).

>> Place the fractal theory here.

Conceptualism is the objectification of ideas in a collaged manner. Collage fragments the idea into an atomised allegory with the symbol at its nucleus, and the symbol is always fixed in the linguistic. The weakness is that the allegory can and often is overlooked, thus the meaning itself can become dis-funct. Lets take the wasted seamen or the lost foreskin as an example. The meaning becomes an reaction to what went before it and the signified is the sum total of the allegory – the process of removing the visual and replacing it with the possible. The works in this vogue are as snappy and popish as the ‘cola’ cans that Warhol exhibited back in the psychedelic 60’s.

>> Well I suppose that sums up the vision – a coke rush that relies on ego-centred quirky aphorisms that is appreciated by the hipsters and other privileged addicts who are about to loose their gold chains in the near future.

These are ideas op pop culture and can be seen as a way of distancing itself from the mainstream opposition culture.


For the gallery this has meant that the recent past is pushed aside to make room for the emptiness of the stark gallery where the gallery is the thing on exhibit. The place for signification becomes the signified. thus the justification for these out dated institutions who are more than happy it appears to forget the past.

>> Sometimes this is needed. When the past is too bad to be acknowledged.

Fractal art is the way galleries can move with the times and crop them into a satirical present. It is no wonder they have become the institutions of dis-grace. But, maybe this is a way of justifying the different modernism’s that have birthed and offers a new way of seeing, a way of forcing the individual into a community way of understanding, a kind of governmentisation of individualisation. Meaning and the subject are a product of assimilation through arrangement and taste. The signifier becomes the curatorship.