NO SHOW MUSEUM

Blind Test, 2009.

2nd | A

The work consists of a copy of a Stradivarius violin concealed within a wall.

"The Stradivarius is interesting to me in my search for the idea of an ultimate instrument. I feel that the place it holds in popular imagination makes it an icon of excellence. A further part of the mystique that it holds in popular culture is the dream of discovering one (due to the fact that only up to seven hundred instruments are thought to have been made and the whereabouts of far less of them are known, although most were probably destroyed over the last three hundred years). The seductive idea persists that, at any time and in the most unusual place, one might still find one. Another key aspect of my fascination with these violins is the idea that, in a blind test, they are often indistinguishable from other violins of the same quality. Similarly, computer testing has been unable to give us the answer as to what the precise reason is for the crucial difference that it has over its competition. This, for me, seems to hold a promise of an idea of a quality that is elusive and impossible to pinpoint." (Simon Gush)

Longer than before / Later than before, 2009.

2nd | 

This performance consisted merely of extending the opening hours of the gallery.

Longer than before: Extended opening hours (Sundays 2PM-5PM)

Later than before: Extended opening hours (Gallery hours extended by 1 hour)

"I wanted to make something that really looked at the relationship which the gallery has with its public. Galleries, particularly in South Africa, play an important role in the development of the art scene, yet the hours they keep always bothers me. Something about the strictly business hours seemed to say that they are there for clients first and not for the general public. By asking the gallery be open on a Sunday, I thought maybe I could politicise this and suggest that another relationship might be possible. Longer Than Before was produced at the Michael Stevenson Gallery, Cape Town and Later Than Before at the Brodie/Stevenson Gallery, Johannesburg." (Simon Gush)

Paid Time, 2009 to present (ongoing project). 

2nd | A

The work consists of a contract between the artist and a buyer that they will take a day's paid leave on a specified date. The first contract dates back to November 16, 2009. Since then, Simon Gush has made four more identical contracts with buyers. The contract reads as follows:  "WHEREAS 'THE ARTIST' wishes to sell an obligation to 'THE PURCHASER' who wishes to purchase this obligation AND WHEREAS the parties wish to record the terms and conditions of this agreement. NOW THEREFORE IT IS AGREED AND RECORDED THAT:

1. 'THE ARTIST' shall sell to 'THE PURCHASER' who shall purchase from the artist the obligation set out herein which obligation shall constitute an artwork.

2. 'THE PURCHASER' in accordance with this agreement, accepts the obligation and undertakes to take one day's leave of absence of work on the 16th of November 2009.

3. The parties record that this agreement shall be notarially certified on the 16th of November 2009 and 'THE PURCHASER' duly undertakes to have the agreement notarially certified at his expense.

4. In consideration for the purchase of this obligation 'THE PURCHASER' shall pay to 'THE ARTIST' the agreed amount.

5. Should 'THE PURCHASER' be in breach of any of the terms and conditions hereof or fail to comply with the obligation, the artwork shall be deemed not to exist and this agreement be null and void.

6. This document shall serve as a record of the artwork. 'THE PURCHASER' may display this document at any time after compliance with the agreement and obligation.

Perfect Lovers, 2006.

2nd | A

Installation with modified ceiling fans.

"Perfect Lovers is the first work that I made which directly references Gonzalez-Torres’ work. It was part of a series of works that used ceiling fans. The fans, for me, were a way of capturing a certain atmosphere and feeling that I associated with being in South Africa, especially its hot climate and the lack of (expensive) air conditioning units. All of the works in the series were installed with the fans rotating just above the audience’s head. The idea was to try and add to their presence and give off a slight feeling of threat. With Perfect Lovers, I chose to use only two fans, placed so that the blades of the fans come within a centimeter or so of touching. This added a third dimension of the potential of them touching and damaging each other." (Simon Gush)

Perfect Lovers (Tripartite), 2012.

2nd | A

Installation with modified ceiling fans.

"Perfect Lovers (tripartite)  is a continuation of my Perfect Lovers artwork from 2006. The first version comprised of two ceiling fans and made reference to the Felix Gonzalez-Torres work Untitled (Perfect Lovers), 1991. Remaking the piece I wanted to shift the work from the personal; 2 fans, ‘myself and the other,’ to the political; 3 fans, a reference to the communal. The fans were arranged in different relations to each other during the course of the show." (Simon Gush)

Time Off, Spare Time, Free Time, 2013.

2nd | A

Erased Ink Drawings.

"After writing the words on the paper with brush and ink I would slowly erase them during my free moments. The process would take about a month per drawing." (Simon Gush)