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Aftershocks: Psychotechnics in the wake of apartheid
(Taylor & Francis, 2016)
What 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 ...
The ‘Rough edge of deterritorialisation’: Contemplation
(Taylor & Francis, 2016)
To frame this paper, which given its focus on the installation Red should ostensibly deal with a question of aesthetics and technology, with an epigraph that situates the contemplative capacity of a cow alongside the echo ...