A bath, with towel on towel rail, soap and bathmat are installed in the gallery. Every day before the gallery opens, for the duration of the exhibition, the artist has their morning bath. The bather is not seen, but the evidence is there in the form of a ruffled towel, wet mat and dirty bathwater.

A remake of Jannis Kounellis’ Tragedia Civile (1975), drawing on the character of Francois Pienaar to restage the work in semi-contemporary South Africa.

Instead of Kounellis’ gold-leaf-festooned wall and coat rack with overcoat and hat, a bowl of Lay’s Lightly Salted chips is placed on offer in front of a wall covered in flattened chip packets of the same type. On a shelf, a mobile phone is on charge, receiving an almost constant stream of news updates from many sources on an endless array of topics of competing urgency.

The title of the work is derived from the front page of The Sunday Independent, 25 June 1995, which features an image of Nelson Mandela handing Pienaar the Rugby World Cup trophy – an image that has become iconic in South Africa as a symbol of reconciliation and unity – accompanied by the headline ‘Triumph of the Rainbow Warriors’.

The chips make reference to the arrival of Lay’s in South Africa following end of apartheid and the lifting of sanctions. Lay’s came to represent a new global sophistication for middle class South Africans to aspire to, once again with Pienaar at the fore as the face of Lay’s in their advertising.