in his 1991 show, Fat Sculptures. That ape had a shotgun slung on its back and held, in its lap, a cartridge with both hands; in One Party State, the weapon has gone but the shotgun shell has been replaced by the primate’s penis. Twenty years had passed, Jolly was suggesting, but it was the same beast – with the same concerns.
‘We get,’ she wrote, ‘its pointed socio-politico thrust and the ramifications of calling someone an aap in this climate.’ More ominously, she warned, ‘We are a thin-skinned, but brutal society. You can’t say this and get away with it, but you can do worse and get away with it. You couldn’t say anything or do anything under the previous regime either.’
Jolly had accompanied Murray on a ‘walkabout’ of Hail to the Thief. He was ‘on a roll’, she wrote, and Murray presumably played to the gallery as he commented on his work. The ruling party, as far as he was concerned, was ‘pissing on the graves of the heroes’. The ANC was not living up to their struggle ideals. ‘They pretend,’ he said, ‘to be what they are not.’
Tellingly, Murray claimed he had identified the president’s Achilles heel. ‘It’s his dick,’ he said. ‘[Zuma] has good ball sense, but he dribbles too much.’
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