The appropriation of an icon: Guernica, remade

Alister Wedderburn

    Research output: Contribution to journalArticle

    Abstract

    Between 2009 and 2010, a women’s community organisation in the Eastern Cape of South Africa wove a tapestry based on Pablo Picasso’s 1937 painting Guernica. The work repurposes the aesthetic vocabulary of Picasso’s iconic painting, applying it to the group’s experiences of the ongoing AIDS epidemic. Rooted in the everyday practice of the women responsible for weaving it, the tapestry offers a layered, complex response to the gendered politics of national and international HIV/AIDS governance, mediated through a craft and trade that is itself gendered. This article offers a brief account of the tapestry’s creation, situating it within the wider context of the Mbeki administration’s doubts regarding the efficacy of antiretroviral drugs. It then draws attention to a specific feature of the tapestry, namely the bull, and asks how the tapestry’s appropriation of Picasso’s visual language enables it to produce, bear, and convey meaning about the AIDS crisis as experienced by women in Hamburg.
    Original languageEnglish
    Pages (from-to)480-487
    JournalInternational Feminist Journal of Politics
    Volume21
    Issue number3
    DOIs
    Publication statusPublished - 2019

    Fingerprint Dive into the research topics of 'The appropriation of an icon: Guernica, remade'. Together they form a unique fingerprint.

    Cite this