archive - issue 5

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    By MJ Turpin
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  • Apartment / Containers

    By Vincent Bezuidenhout
    These diptychs are the start of a series of images I have been working on regarding the visual landscape we choose to surround ourselves
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  • Collage

    By Claudio Parentela
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  • Drag and Snap

    By Leigh-Anne Niehaus
    This series is inspired by the childhood game of "snapdragon", which allows for simplistic and delightful decision-making through random selections of colour and number.
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  • Human/Nature

    By Lydia Anne McCarthy
    This series explores moments between nature and human beings that are at once idealistic and unsettling. Each picture is an independent narrative, but placed
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  • p u n c t u a t i o n

    By Ula Einstein
    Einstein works with a diverse range of media, including drawings and installation with fire, thread, and blades. The series of drawings and installations with
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  • Pretty Babies

    By Peregrine Honig
    With the premise that "/ " presents what is IN and what is OUT, the "Pretty Babies" series explores the fashion industry's well-published and syndicated DOs
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  • River Bank

    By Mario Sughi
    The symbol / is intended initially as a symbol of division. A real or unreal line divides the girl from the water, the girl from
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  • Seasaw

    By Sol Kjøk
    Here, the motif is conceived of as a seesaw (the typo in the title is intended, as this drawing is part of a series
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  • Series Seven Up

    By Noel Fignier
    Text by João Branco Kyron, HipnóticaThe collision is imminent and in the fraction of time left, the eyes shut and the vision is superbly
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  • A battle over samoosas between the snobbish Cinderella and a homeless electrician is mediated by Cinderella's boyfriend JJ. The samoosa battle is conflated with
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  • Untitled

    By Wilhelm Saayman
    This series of images, made using pen and ink, photographs and Photoshop, explore alternate/dream realities.
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  • Let's go there

    By Leigh Le Roux
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  • The space between.

    By Mehita Iqani
    It's a handy little line, the one that we use to make our options known. Either/Or. Paper and ink or binary code? Its clichéd,
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  • /

    By Ruth Barker
    On the QWERTY layout of my computer keyboard, the symbol / appears beside the questioning symbol ?. They are represented together on the same key, and
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  • I returned home after my first year in college to discover my younger sister had turned gorgeous. This was a disappointment, but not an
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  • Forward! Slash!

    By Travis Lyle
    You think you're a forward-thinking kinda person, do you? Lemme be the one to break it to you, sunshine – you're as lame as the
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  • Letter to the Editor

    By Elan Gamaker
    Dear Sir/Madam I should like strenuously to object to the subject matter ("/") of your current issue. It must first be mentioned, however, that it
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  • Butterfly

    By Adriana de Barros
    The pupa, a silk wrap of emotionsIsolated, within breathing, wanting to bethe intense pronoun of selfIt is silly to be one's own pronounShe giggles
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  • Evidence of Life

    By Tamlyn Martin
    Below is an extract from a series of 11 poems created in parallel with visual artworks. 5. Memories laced with visceral realityFlooding herThe gentle
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  • Immigrants

    By Stanley Onjezani Kenani
    you want to livenothing leaveto liveyou swimor like fresh sardinesyou are packedin boatsyou leaveto live.  you leavegold in the belly of Africaoil in
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  • In Between

    By Tania van Schalkwyk
    Raised in an Arabian land of heat, fire and temper,sometimes the calm of England clamps downlike damp in a bathroom with no windowand a
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  • Or: a line drawing

    By Gabeba Baderoon
    Pencil and nothing. Her face turned almost entirely away. Forehead, cheekbone,jaw,the bun low in her neck,shoulderand down,the long linejust enoughthen left alone.
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  • Scissor

    By Charlotte Gait
    There was a time when you and I were connected by iron, acid, vitamin and blood. Where every mouthful I took was with the
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  • Un Hombre Fuerte

    By Tamo Vonarim Written these words are, at times of a subconscious flow – whether they are mine, I don't know. All I know is that I
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  • Unbroken Awareness

    My life is now a floating shellI am a vessel on that river.The storm, the ship, the sea,Whose shores we lost in crossing.  I
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  • Untitled

    By Aryan Kaganof
    /At R550 rand I thought I'd rather die/ My mother: can I trust this woman?/ I thought the Romans were coming, dinkum/ …and always
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    By Sean Hampton-Cole
    Keys. John speaking. 'Lo?Good morning. May I speak to Bob Mitchell please?Bob in Bonds?I'm not really sure. I'm trying to...You want extension 125. This
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  • Wayne Porter, freelance journalist, donned his anthropologist's birthday suit and hit the bowling alley. Bar the bowlers hat tipped gently off centre, the man
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  • The Incised Wound

    By Joanne Hichens
    "Please, for me, Dave," I placed my hand on his, and really, no begging, just asked him nicely, "Lay off the booze tonight." Whether
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  • He had been driving for hours through that unstable, somnambulist night when he fell asleep at the wheel. He awoke with a start and
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Sunday, 25 May 2008 02:00

The space between.

By  Mehita Iqani
It's a handy little line, the one that we use to make our options known.


Paper and ink or binary code? Its clichéd, I know, to regress into a nostalgic rhetoric as I write my first editorial for ITCH Online, but I can't help thinking back to the five print magazines that we made, and comparing them to the promises and perils of this new experiment. Will ITCH online be Better/Worse? Is this the End/Beginning? Of course, one of the benefits of the glorious internet is its interactive potential – so I can abdicate editorial responsibility to the new media wave. So, post your comments, share your views, submit your work (of course) – teach me what the internet can do... I'm ready, we're waiting...


I've left home, I confess, the beauteous bubble of eKapa, the raucous gritty energy of Jozi, and I'm in London now, contemplating the relationship between here and there, home and away, why I left, and how I feel about it all. How can I grow, what can I learn, when will I bring it all back, will I be wanted when I return? The jet stream of that flight home, connecting LHR and CPT, seems to me a gargantuan inter-continental forwardslash linking former metropole and colony, highlighting my sense of be/longing, my experience of dis/placement.


As I write this, Mzansi's xenophobic flames seem to be cooling – or are they? – and my heart is breaking for the land, once again blood-soaked, that I've temporarily left behind. The slash is a violent little piece of punctuation. It is remorseless and hard. Like a knife, it has no shame; it cuts things apart (and by doing so highlights the connections between them, the relationship that is no more, but also no less). This sense of violence is explored in some of the writings in this issue, where the simple forward-slash morphs into a weapon of destruction. The piercing pain of knifed flesh, the burning intimidation of language, pronunciation, representation.


This collection of ITCH includes rich experimental writing, finely wrought poetry, eyebrow-raising satire, aching musings – all of which walk a tightrope between phenomenology and irony. You'll notice that we've overinterpreted every possible prefix for the word "text", mainly to avoid reductive categorisation, also to add a sense of the subliminal to everything. Instead of trying to herd the rich variety of submissions into neat little well-defined cages, our categories are intended to highlight the fluidity, the boundary breaking newness, of the kind of writing that comes to ITCH. A space between being and knowing, labelling and making connections, arbitrary perhaps, but unavoidable, and only, at the end of the day, an experiment.


And the most fundamental binary of all: it has been explored, confused and created in ITCH since we started this whole trip: the tension and relationship between visual and verbal communication. Our focus is text, to be sure – but images are non/texts too. Its hard to cut them out completely, so even though our new editorial mandate is to focus on literary and verbal expressions, other forms of narrative keep creeping in. A lesson in the impossibility of pure boundaries – beautifully so.

So, this is what I have to say, my fragmented, clichéd editorial. I love ITCH, naive though I may still be, and what it represents: effort, experimentation, ideas, evolution, an alternative to the mainstream. I'm pleased that it is back in a real world space. I hope that it will prove to be meaningful to those whose work we've published and all who read here.

———— mehita
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