Aftershocks: Psychotechnics in the wake of apartheid

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dc.contributor.authorTruscott, Ross
dc.contributor.authorSmith, Michelle
dc.date.accessioned2018-05-31T07:36:04Z
dc.date.available2018-05-31T07:36:04Z
dc.date.issued2016
dc.description.abstractWhat we at first found intriguing about Simon Gush�s Red, what the documentary and the installation seemed to mutually conjure, was the Mandela car as a body to be mourned.2 Mourning recurred as a latent theme through the documentary in the interviews with the workers at the Mercedes Benz factory � as Phillip Groom described Mandela�s words on receiving the car, he stressed that its colour �represented the many people that have spilled blood in this country to liberate it, to bring it to liberation�, a notion the workers seemingly anticipated, as at the factory the Mandela car was, as Groom put it, �literally carried�, like a coffin, not simply a �labour of love�, but a work of mourning.3 Attuned to this, the shell of Gush�s reconstruction of the car body installed within the Goethe-Institut gallery in Johannesburg and then outside the Ann Bryant gallery in East London seemed to lie like a cadaver on an autopsy trolley (see image in the editor�s introduction to this issue).en_US
dc.description.accreditationIBSS
dc.identifier.citationTruscott, R. & Smith, M. (2016). Aftershocks: Psychotechnics in the wake of apartheid. Parallax, 22(2): 248-262.en_US
dc.identifier.issn1353-4645
dc.identifier.urihttp://dx.doi.org/10.1080/13534645.2016.1175057
dc.identifier.urihttps://hdl.handle.net/10566/3753
dc.language.isoenen_US
dc.privacy.showsubmitterFALSE
dc.publisherTaylor & Francisen_US
dc.rightsThis is the author-version of the article published online at: http://dx.doi.org/10.1080/13534645.2016.1175057
dc.status.ispeerreviewedTRUE
dc.subjectSimon Gushen_US
dc.subjectReden_US
dc.subjectMourningen_US
dc.subjectArten_US
dc.subjectHistorical readingsen_US
dc.titleAftershocks: Psychotechnics in the wake of apartheiden_US
dc.typeArticleen_US

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