Dumile Feni’s evocative work, African Guernica (1967), has made its debut at the Reina Sofía museum in Madrid, positioned directly across from Pablo Picasso’s iconic canvas of the same name. This striking juxtaposition is part of a new exhibition series titled *History Doesn’t Repeat Itself, But It Does Rhyme*, which aims to explore the intersections of art across different cultural and historical contexts. Feni’s piece, steeped in the anguish of apartheid-era South Africa, invites reflection on both the specific violence of racist tyranny and the broader implications of artistic expression in times of strife.
A Historic Exhibition
The Reina Sofía museum has chosen to showcase African Guernica in a prominent location, marking a significant moment for both the late artist and the institution. The director of the museum, Manuel Segade, articulated the exhibition’s intent to present artworks that challenge conventional narratives and highlight the often-overlooked contributions of artists from diverse backgrounds. “Just as western art has relegated women to one side when it comes to the history of art, so has the history of art been constructed according to racist parameters that have condemned African art to handicrafts or to savagery,” Segade remarked, underscoring the need for a more inclusive art historical framework.
Feni’s work, which has not previously been displayed outside South Africa, serves as a powerful counterpoint to Picasso’s Guernica. While Picasso’s painting is a visceral reaction to the horrors of war, Feni’s charcoal and pencil drawing channels the deep-seated trauma inflicted by apartheid—a regime that systematically dehumanised the majority population. As viewers gaze upon African Guernica, they encounter a three-legged figure brandishing a stick, a cow with an engorged udder nursing its young, and ominous shadows lurking in the background, inviting them to confront the dark realities of oppression.
The Artist’s Journey
Dumile Feni’s artistic journey was shaped by his formative years in Johannesburg, where he encountered a vibrant cultural milieu amidst the oppressive apartheid regime. Despite lacking formal training, Feni demonstrated an extraordinary talent for drawing from a young age, drawing inspiration from African traditions as well as European art movements. His exposure to artists like Goya and Bosch, along with the influence of Picasso’s engagement with African art, enriched his unique style.
Tamar Garb, a professor at University College London and the exhibition’s curator, emphasised the importance of understanding Feni’s work within this context. She noted, “It’s important to remember that Picasso’s Guernica itself could not have existed without African sculpture,” highlighting the intricate relationships between different artistic traditions. Garb also clarified that while the name African Guernica may suggest a direct thematic parallel, the two works emerge from distinct experiences of violence and trauma.
Not Just a Comparison
The exhibition features additional works by Feni, including the monumental scroll *You Wouldn’t Know God if He Spat in Your Eye*, showcasing his ability to blend personal and political narratives through art. Another notable piece, *Hector Pieterson*, hauntingly captures the moment a young boy was killed by apartheid forces—an image that has become synonymous with the struggle against racial injustice in South Africa.
Despite the inevitable comparisons to Picasso, Garb asserts that Feni occupies a unique position in 20th-century art. “This is a modern artist using drawing materials—charcoal, pencil, and conté crayon—at a scale almost unheard of globally at that time,” she explained. This scale of ambition, coupled with Feni’s profound thematic concerns, distinguishes him within the canon of modern art.
Why it Matters
The exhibition of African Guernica at the Reina Sofía not only elevates Dumile Feni’s work on the global stage but also challenges audiences to engage with the multifaceted narratives of art history. By placing Feni’s poignant exploration of racial violence alongside Picasso’s anti-war sentiments, the exhibition invites a deeper understanding of how art can reflect, resist, and respond to the complexities of human experience. In a world still grappling with issues of race and inequality, Feni’s art serves as a reminder of the enduring power of creative expression in the face of oppression.
