'We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.' - Marinetti, 1909, Futurist Manifesto

Over 100 years ago Marinetti outlined the Modernist ideal thus. Although the Futurists were particularly extremist in their Fascism, the notion of cultural and national progress has always been intrinsically linked to technological prowess, and, particularly increasing military expertise. Johann van der Schijff's 'Power Play' questions notions of power and progress and the roles these ideals play in national and personal identities. With its big shiny bombs, clever boys' toys and Paarl Monument miniatures, van der Schijff's exhibition wittily makes manifest the complex intersection of boyhood, sexuality, violence and South African nationalism.

The aesthetic of 'Power Play' owes a lot to the iconography of both childhood and adolescence (and possibly, in a time of crisis, middle age Harley-Davidson fetishes). Bomb is the physical manifestation of Marinetti's 'beautiful ideas that kill', a caricature of speed, violence and destruction raised up on a shiny stand resting on four perfectly black, perfectly smooth tyres.

Bomb is a sculptural representation of a bomb at its semiotic core: the child's drawing, the explanatory diagram and the military radar screen all present this particular phallus.With its kitsch speed flames, sprayed on by a Harley-Davidson specialist, this bomb too becomes an icon of a very male type of power. These flames may be associated with the growling and bearded Hell's Angel; however they seem more likely to conjure up images of a mid-life-crisis-mobile that never gets it quite right; or the little boy's toy car - a representation of a representation of speed and glory. In this way van der Schijff's Bomb portrays this icon of mass destruction as a ridiculous and powerless boys' toy, out of place and overdressed.

Similarly Missiel/Missile is the epitomé of military/industrial efficiency, its glistening tip aimed and ready for action. This particular weapon however, has its shaft encased partly in the leather trappings of S & M, simultaneously heightening and ridiculing its obvious metaphoric qualities. The sculpture is completed by a pre-school yellow trolley with the same smooth wheels, another toy apparently drawing on impulses shared by the boy playing in his bedroom and the father tinkering in his shed.

Both Slaansak/Punch Bag and Hangbal re-imply the aesthetics of S & M, here portraying a childish caricature of a gimp mask, stuffed to evoke the friendly dimensions of a snowman. The key to these works, however, is their interactivity. Slaansak/Punch Bag is particularly successful in its enticement to play. Visitors to the show, forced to chose whether or not to engage in this ominously childish violence, almost invariably took a swing at the spinning punch bag. Slaansak/Punch Bag and Hangbal both also feature one black and one white side demonstrating the most basic representation of duality: of race, language, and basic values of good vs. evil. The fact that Slaansak/ Punch Bag continuously revolves on its stand with the viewer unable to ever vanquish either the white or the black chubby gimp man, also suggests much about the inevitability of history.

Hemelbesem which translates directly as 'heaven broom' presents extra long and thus, presumably, extra efficient household brooms - separated into pale pink and baby blue camps - mounted as a holy shield to protect the gender separatist and clean-minded mentality of the conservative old-Afrikaner household. Sweep-out repeats the broom iconography, showing two wall-mounted red dustpans hanging beneath two small brooms. Placed next to the piece, In Emergency - Lift Border, a rectangular red carpet with the text of the title woven in white lettering, the notion of sweeping things, be they histories, violence or sins, under the carpet is literally and seamlessly suggested.

'Power Play's' real coup, however, is Lazy Susan, even if it's only because we're so unaccustomed to efficiently functioning physical computing work in Cape Town. The piece again uses the play-set element of shiny red paint and Meccano style wheels. Here, though, these wheels also imply the lumbering mechanics of a primitive war machine as the mechanism slowly creaks as it swivels to follow the viewer as she/he navigates the room. Mounted on this mechanism is a video projection screen showing a slowly morphing animation of a simplified Mickey Mouse head, which is presented to the viewer once they are in, as it were, the machine's sights. This ominous contraption sports the ultimate icon of innocence and commerce - the trademark of the Disney company; that great hawker of the apple pie ideals of the Eurocentric male-dominated suburban fairytale. Does anybody remember dear Walt's role in the McCarthy trials perchance?

Van der Schijff has succeeded in putting on a very successful show at the as-of-late lagging Bell-Roberts gallery. His carefully considered use of form, materials and text as well as an unusually thoughtful use of the gallery space result in a professionally sound and truly fun exhibition.

Opens: April 25
Closes: May 20

Bell-Roberts
89 Bree Street, Cape Town
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