Reina Sofía: Picasso’s Guernica & Dumile Feni’s African Guernica – New Exhibition

The Reina Sofía Museum in Madrid has launched a compelling new exhibition, “La historia no se repite, pero rima” (History doesn’t repeat itself, but it rhymes), placing Pablo Picasso’s monumental Guernica in dialogue with Dumile Feni’s powerful 1967 operate, African Guernica. The exhibition, which opens to the public on March 25, 2026, and runs through September 22, 2026, isn’t simply a side-by-side comparison; it’s a deliberate attempt to explore shared themes of trauma, protest, and the human condition across vastly different cultural and historical contexts. The exhibition’s title itself is a nod to a phrase often attributed to Mark Twain, though it’s now considered apocryphal.

This initial pairing, curated by Tamar Garb, is augmented by five additional works by Feni, drawn from prominent South African institutions including the University of Fort Hare, the Fundación Norval, and the Wits Art Museum, as well as private collections. Four preparatory drawings by Picasso for Guernica, from the Reina Sofía’s own collections, are also included, offering a glimpse into the artist’s creative process.

A Dialogue Across Continents and Eras

The choice to juxtapose these two works is particularly resonant. Picasso’s Guernica, completed in 1937, is a visceral response to the bombing of the Basque town of Guernica during the Spanish Civil War. It’s a universally recognized symbol of the horrors of war and fascism. Feni’s African Guernica, created nearly three decades later, responds to a different, but equally brutal, reality: the apartheid regime in South Africa. As Manuel Segade, director of the Museo Reina Sofía, noted, the work represents “a transcendental moment of the crisis of modernity, the moment of apartheid in South Africa, which is one of the limits of the modern project.”

Dumile Feni, born in 1942 in Worcester, South Africa, and who died in New York in 1991, lived a life marked by exile and hardship. His experiences – including imprisonment for interracial relationships – profoundly shaped his art. He was forced into exile in London and then New York, unable to return to his homeland. This sense of displacement, deprivation, and pain is powerfully conveyed in his work. Garb highlights Feni’s unique approach, stating he “is a modern artist who uses drawing materials on an almost unheard-of scale globally at that time.” She further emphasizes that, considering global drawing practices in the 1960s, “very few artists worked at the epic and monumental scale of Dumile at that time.”

Dumile Feni: A “Goya of the Townships”

Feni’s artistic style, often described as expressive and emotionally charged, earned him the moniker “Goya of the townships.” Like the Spanish master Francisco Goya, Feni didn’t shy away from depicting the darker aspects of human existence. African Guernica, a large-scale charcoal drawing, is a harrowing depiction of the violence and injustice inflicted upon Black South Africans under apartheid. The work, never before seen outside of Africa, is particularly significant for its size, which was unprecedented for South African art at the time, and generated considerable discussion in the South African press upon its creation.

The exhibition at the Reina Sofía isn’t simply about highlighting the similarities between these two works; it’s about acknowledging their distinct contexts and the unique perspectives they offer. Although there are no direct references to Picasso’s work in Feni’s piece, the artist was familiar with the work of both Picasso and Goya, and his work reflects their influence, particularly Goya’s dark paintings. The exhibition aims to foster a deeper understanding of both works by presenting them in a new light, encouraging viewers to consider the complex relationship between art, history, and social justice.

Beyond the Two Guernicas: A Broader Exploration

The Reina Sofía’s initiative, “La historia no se repite, pero rima,” signals a broader curatorial direction for the museum. The program intends to establish a series of dialogues between Guernica and other significant artworks that share thematic or representational parallels, but originate from diverse historical and cultural backgrounds. This approach promises to enrich the understanding of Picasso’s masterpiece by placing it within a wider global context.

The museum has expressed gratitude to the lending institutions, particularly the University of Fort Hare in South Africa, for making the loan of Feni’s work possible. The National Heritage and Cultural Studies Centre (NAHECS) in South Africa also received acknowledgement for its collaboration and support of the project.

What’s Next for the Reina Sofía?

Following “La historia no se repite, pero rima,” the Reina Sofía has a full schedule of temporary exhibitions planned throughout 2026 and 2027. Currently on display is “Alberto Greco: Viva el arte vivo,” running until June 8, 2026. Upcoming exhibitions include shows dedicated to Andrea Canepa (“Fardo,” January 13, 2026 – January 1, 2027) and Oliver Laxe (“HU/هُوَ. Bailad como si nadie os viera,” December 17, 2025 – April 20, 2026). You can find a complete schedule of exhibitions and related events on the Museo Reina Sofía’s official website: https://www.museoreinasofia.es/. For those interested in learning more about the Reina Sofía’s collection, including Picasso’s Guernica and works by Dalí and Miró, Museums Made Straightforward offers a helpful guide: https://www.museumsmadeeasy.com/reina-sofia-highlights. Further context on the significance of Africa’s artistic contributions can be found in this piece from Veritas: https://veritas.enc.edu/faith-and-culture/africa-also-holds-its-own-and-can-turn-to-queen-sofia/.