In a significant cultural moment, Dumile Feni’s powerful artwork, “African Guernica” (1967), has been unveiled at the Reina Sofía museum in Madrid. This exhibition not only places Feni’s drawing in conversation with Picasso’s renowned “Guernica,” but it also marks the beginning of a new annual series titled “History Doesn’t Repeat Itself, But It Does Rhyme,” aimed at challenging the historical narratives surrounding art and its creators.
A Profound Juxtaposition
Situated on the same floor where Picasso’s masterpiece was first displayed 34 years ago, Feni’s smaller yet equally impactful piece captures a raw emotional intensity that resonates deeply with its viewers. Although distinct in scale and origin, both artworks explore themes of violence and suffering, albeit from different contexts.
In “African Guernica,” the stark imagery unfolds across aged paper, featuring a three-legged figure brandishing a stick, a cow nursing its young, and ominous figures lurking in the backdrop. Feni’s narrative emerges from the oppressive realities of apartheid South Africa, contrasting with Picasso’s response to the horrors of the Spanish Civil War.
A New Exhibition Series
The unveiling of “African Guernica” is a pivotal element of the Reina Sofía’s new initiative, as explained by the museum’s director, Manuel Segade. The series aims to juxtapose works from various cultural and geographic backgrounds with Picasso’s iconic painting, thereby fostering a re-examination of both artworks. Segade emphasises the necessity of addressing historical biases that have often sidelined non-Western art forms, stating that “the history of art has been constructed according to racist parameters that have condemned African art to handicrafts or to savagery.”
This exhibition represents a fresh opportunity for audiences to engage with Feni’s work, which has never been displayed outside South Africa before, and to appreciate the nuances of his artistic vision shaped by a tumultuous historical landscape.
Dumile Feni’s Artistic Journey
Dumile Feni, who passed away in 1991 after years in exile, was a self-taught artist whose fascination with indigenous African art profoundly influenced his work. His early exposure to the vibrant cultural scene in Johannesburg led him to explore various artistic styles, including the works of European masters. Notably, Feni’s art reflects a unique dialogue with modernism while remaining deeply rooted in African tradition.
Tamar Garb, a professor at University College London and the exhibition’s curator, highlights the intersection of African and European influences in Feni’s oeuvre. “Picasso’s Guernica itself could not have existed without African sculpture,” she asserts, underlining the mutual inspiration between cultures. Yet, she cautions against equating the two “Guernicas,” noting that Feni’s work is a profound reaction to the “slow violence” of systemic oppression, rather than a direct commentary on war.
A Diverse Collection
In addition to “African Guernica,” the exhibition showcases five other significant works by Feni, including a lengthy scroll titled “You Wouldn’t Know God if He Spat in Your Eye,” developed during his time in London. Another striking piece, “Hector Pieterson” (1987), poignantly depicts the tragic aftermath of state violence against children during apartheid.
Garb asserts that Feni occupies a singular position within 20th-century art, as a modern artist utilising traditional drawing materials at a colossal scale. “There are very few artists globally in the 1960s who worked at such an epic level,” she remarks, acknowledging Feni’s contributions to the broader narrative of art history.
Why it Matters
The exhibition of Dumile Feni’s “African Guernica” alongside Picasso’s work serves as a vital reminder of the interconnectedness of artistic expression across cultures and eras. It challenges viewers to confront the painful legacies of violence and oppression, illuminating the often-overlooked voices of artists like Feni within the global art narrative. As such, this event not only enriches the cultural fabric of the Reina Sofía but also invites a re-evaluation of the historical contexts that shape our understanding of art today.
