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Art/work: Fabricating freedom or, thinking about instrumentality in relation to political art

In this paper I would like to think about instrumentality in the context of the potentially coinciding realms of politics and the work of art. I begin with three moments from the story of building Mandela’s red Mercedes and the subsequent wildcat strike in the same factory. These moments, narrated to us in the interviews making up Simon Gush and James Cairns’ film entitled Red, speak to this conceptual constellation, that is, the place of instrumentality in relation to the coincidence of politics and art-work through, I suggest, the notion of the as if.