Truscott, RossSmith, Michelle2018-05-312018-05-312016Truscott, R. & Smith, M. (2016). Aftershocks: Psychotechnics in the wake of apartheid. Parallax, 22(2): 248-262.1353-4645http://dx.doi.org/10.1080/13534645.2016.1175057https://hdl.handle.net/10566/3753What 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).enThis is the author-version of the article published online at: http://dx.doi.org/10.1080/13534645.2016.1175057Simon GushRedMourningArtHistorical readingsArticle