by Nomalisa Hadebe
Richard Mudariki’s latest solo exhibition, My Reality, recently concluded in Cape Town, marking a pivotal moment in the Zimbabwean artist's continuous exploration of contemporary global and personal realities. As his ninth solo exhibition, it builds on the themes first introduced in his 2012 debut at Johans Borman Gallery and expanded upon during his 2018 showcase at Barnard Gallery. With My Reality, Mudariki not only sharpens his unique commentary on politics, history, and the human condition but also unveils a compelling artistic manifesto, declaring: “Make ART Not WAR.”
The exhibition assumes a deeply personal and political tone, with Mudariki pushing the boundaries of his practice to interrogate the politics of meaning within the art historical canon. Armed with a degree in archaeology, cultural heritage, and museum studies from Midlands State University in Zimbabwe, Mudariki presents a visual excavation of the past few years, an extension of his 2012 series that included his now-iconic Passover painting, often likened to Da Vinci's Last Supper when exhibited at Zeitz Museum of Contemporary Art Africa in 2017. His latest works reflect on global conflicts, the persistence of labor exploitation, and the socio-political struggles facing Zimbabwe and the world at large.
At the heart of this exhibition is a monumental painting and installation that confronts the ongoing global conflicts, especially those in Ukraine, Israel, and Sudan. Titled War the artwork is a chaotic composition that draws inspiration from Picasso’s Guernica, infusing elements from South African artist Stanley Pinker’s paintings and Roy Lichtenstein’s pop art. Mudariki’s use of disordered canvases symbolizes the destruction wrought by bombs, while fragments of missiles scattered across the gallery floor immerse viewers in the artwork’s commentary on violence. Visitors were invited to leave messages of hope on a large missile bomb facing the painting, adding an interactive and reflective dimension to the work.
War starkly portrays the devastation of modern conflict, from a mother’s anguished scream over her dead child to lifeless bodies being dragged from the rubble. Mudariki reinterprets the infamous "Whaam!" sound from Lichtenstein’s comic-style art, blending it with the visceral realities of missile strikes in Ukraine and Palestine. Through these layered references, he connects past and present conflicts, underscoring the cyclical nature of human suffering.
In 7 October, Mudariki delivers a haunting reimagining of Francisco Goya’s The 3rd of May 1808, capturing the tragic events of October 7, 2023. Echoing Goya’s portrayal of human suffering, Mudariki draws a stark parallel between historical atrocities and modern violence. This painting urges us to recognize that history repeats itself, and the human toll of conflict remains painfully consistent. 7 October stands as both a memorial and a potent reminder of our collective responsibility to break the cycle of violence.
Mudariki's Pieta painting in the exhibition reinterprets the classical theme of grief and sacrifice, drawing inspiration from Bouguereau’s 1876 Pieta and Michelangelo’s iconic sculpture. The painting depicts a grieving mother cradling the body of a fallen soldier, possibly her son, whose weapon lies beside his grave. This poignant work connects timeless sorrow with contemporary conflict, reminding us of the ongoing sacrifice of human lives in war. This is Mudariki's second take on the painting Pieta, with his first painting titled Pieta painted in 2008 and shown at Gallery Delta in Harare.
In another standout piece, Tsepo Tshola Sings Stop the War, Mudariki pays tribute to the late South African music legend Tsepo Tshola. Inspired by Tshola’s performance of Stop the War from Sankomota’s 2009 album, the painting resonates deeply with today’s struggles for peace. Mudariki, who is a jazz enthusiast, captures Tshola’s commanding presence as a powerful symbol of resistance, urging viewers to heed the urgent call for peace in our troubled times.
Mudariki’s Song of the Pick – Digging Fibre Cables draws on Gerard Sekoto’s 1947 painting Song of the Pick to depict modern laborers digging trenches for fiber-optic cables. The work juxtaposes the technological advancements of the Information Age with the enduring realities of exploitative labor, reflecting on the unchanging dynamics of power and inequality. Despite modern tools, the systemic inequities highlighted in Sekoto’s original painting remain evident today.
In Portrait with Bandaged Ear (2024), Mudariki parallels Vincent van Gogh’s self-portrait with a depiction of Donald Trump, bandaged after an assassination attempt. This politically charged painting mirrors the turbulent state of American politics, with Trump’s defiant expression symbolizing resilience in the face of chaos. Mudariki continues his critical exploration of American democracy, following earlier works like Target and The Election Observer which he painted in the USA in 2016, A View from the Artist Studio painted in Paris in 2019, and Exit Stage Back Door painted in Cape Town in 2020.
The exhibition’s focus shifts to local issues with works like Stage 6 Load Shedding, capturing the lived realities of South Africa’s energy crisis. A woman and her child sit in darkness, lit only by a candle, as a pot cooks on a gas cylinder. For me this piece poignantly reflects the financial strain and emotional toll on families forced to find alternative power sources amidst frequent power cuts.
Mudariki’s only work on paper, Africa’s Chess, uses African symbolism to comment on war and conflict. The chessboard becomes a metaphorical battlefield, where toy soldiers represent external forces influencing the continent, and African chess pieces symbolize resilience and leadership.
Other works in the exhibition, like Voting in Zimbabwe (2023) and Tough Times (2023), reflect the political and economic challenges at home, addressing the frustrations of Zimbabwean voters and the broader socio-economic crises exacerbated by the pandemic.
Mudariki's latest body of work is a compelling artistic intervention that compels us to confront the critical issues of our time. Through rich historical references and thought-provoking imagery, he demonstrates that art remains a potent tool for reflection, protest, and above all, hope.
The exhbition ran from 5 September to 15 October 2024 at artHARARE space at 129 Bree Street in Cape Town, South Africa. For information please email artHARARE on info@artharare.com
Nomalisa Hadebe is a researcher and writer based in Cape Town, South Africa
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