A powerful new exhibition is unfolding at the Reina Sofía Museum in Madrid, where the late South African artist Dumile Feni’s striking work, *African Guernica* (1967), is being showcased alongside Pablo Picasso’s iconic masterpiece. This exhibition, titled *History Doesn’t Repeat Itself, But It Does Rhyme*, explores the intricate relationship between art and societal violence, inviting viewers to reconsider the narratives woven into both artists’ works.
A Juxtaposition of Two Guernicas
Located on the second floor of the Reina Sofía, *African Guernica* occupies a significant space—directly opposite Picasso’s *Guernica*, which first graced the museum’s walls over three decades ago. While Feni’s work may not boast the same monumental scale as Picasso’s, its emotional resonance is profound. Rendered in charcoal and pencil, the piece depicts a haunting tableau: a three-legged figure with a grotesque mask, a cow nursing its young, and ominous shadowy figures lurking in the background. This unsettling imagery starkly conveys the artist’s response to the brutality of apartheid South Africa.
Feni’s *African Guernica* emerges from a different historical context than Picasso’s protest against the atrocities of war. The South African artist’s work channels the anger and despair born from life under an oppressive regime, making it an equally poignant commentary on human suffering.
The Vision Behind the Exhibition
The *History Doesn’t Repeat Itself, But It Does Rhyme* series aims to provide a platform for artworks from diverse cultural backgrounds, placing them in dialogue with *Guernica*. According to Manuel Segade, the museum’s director, the initiative seeks to challenge entrenched biases within art history, which have often relegated non-Western artists to the margins. “Art history has often been constructed according to racist parameters that have condemned African art to handicrafts or to savagery,” he stated, highlighting the need for a more inclusive narrative.
Feni’s work, never before exhibited outside South Africa, is a crucial component of this discussion. The artist, who passed away in 1991, spent much of his life in exile, yet he remained deeply rooted in the cultural expressions of his homeland. His fascination with indigenous African art forms—ranging from rock painting to mask-making—shapes the distinctive aesthetic of his oeuvre.
The Legacy of Dumile Feni
Despite lacking formal training, Feni’s artistic journey is marked by his relentless exploration of drawing. His experiences in Johannesburg exposed him to a rich cultural scene, where he encountered the works of various European masters, including Goya, Bosch, and Picasso himself. According to Tamar Garb, a professor of art at University College London and curator of the exhibition, Feni’s work exemplifies a unique intersection of influences. “Picasso’s *Guernica* could not have existed without African sculpture,” she explained, emphasising the reciprocal nature of artistic inspiration across cultures.
Although some might suggest a thematic kinship between the two *Guernicas*, Garb cautions against oversimplification. Picasso’s piece serves as an “anti-war cri de coeur,” while Feni’s work reflects a different kind of violence—an insidious and systemic oppression that dehumanises the populace. This distinction underscores the complexity of their respective critiques of societal injustices.
Alongside *African Guernica*, the exhibition features five other notable works by Feni, including the extensive scroll *You Wouldn’t Know God if He Spat in Your Eye* and the haunting *Hector Pieterson* (1987), which poignantly memorialises a young boy killed during apartheid. These pieces further encapsulate Feni’s deep engagement with themes of violence, identity, and resistance.
A New Perspective on Art History
Feni’s remarkable ability to convey profound narratives through simple materials places him in a distinct position within the 20th-century artistic landscape. Garb notes the rarity of artists in the 1960s who employed drawing techniques at such a grand scale, making Feni’s contributions all the more significant. His legacy challenges prevailing notions of artistic practice and encourages a broader appreciation of African art within the global context.
Why it Matters
The exhibition of *African Guernica* at the Reina Sofía Museum is not merely a celebration of Dumile Feni’s artistry; it is a vital intervention in the ongoing discourse surrounding race, identity, and the roles of art in societal critique. By positioning Feni’s work alongside Picasso’s, the museum invites audiences to engage with complex historical narratives and to recognise the enduring impact of oppression and resistance. In an era where the dialogue on race and representation is more critical than ever, this exhibition serves as a reminder of the power of art to illuminate the human condition and foster understanding across cultures.