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Already have an ? Log in. Log in through your institution. This article analyses the bed installation in Simon Gush's Red exhibit to draw attention to the 'sleep-in' aspect of the East London Mercedes-Benz strike.

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It shows how the strike narratives emphasis on the shop workers and Nelson Mandela's flawless red Mercedes-Benz automatically insulates the strike's central sleep-in component from the topic of queer desire. By revealing Red's beds and the acts thereon as the strike narrative's 'queer limit', the article uses Gush and Emma Sulkowicz's techniques to reinvent the sleep-in as a complex space of homosociality and queer self-discovery.

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Doing so builds on Gush's installations and uses performance to deliberately 'pervert' the strike's collective memory and offer up strategies for queer critique in South African historiography. It is an accredited South African journal that aims to promote and publicise high quality historical research on southern Africa. The journal also encourages comparative studies and seeks to break new ground in its dynamic integration of visuals and text.

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The University of the Western Cape is a national university, alert to its African and international context as it strives to be a place of quality, a place to grow. It is committed to excellence in teaching, learning and research, to nurturing the cultural diversity of South Africa, and to responding in critical and creative ways to the needs of a society in transition.

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Get Started Already have an ? Abstract This article analyses the bed installation in Simon Gush's Red exhibit to draw attention to the 'sleep-in' aspect of the East London Mercedes-Benz strike. Publisher Information The University of the Western Cape is a national university, alert to its African and international context as it strives to be a place of quality, a place to grow.

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