J. M. Coetzee

Held on 30 Jun 2016
J. M. Coetzee is regarded as a writer of ideas. His literary work bears a distinctly philosophical imprint that is often woven around allegory, yet his stark, analytical view of racial conflict in South Africa, his country of origin, has not stood in the way of a broader horizon and an interest in other universally ethical and pressing causes, for instance the suffering and exploitation of animals, conceived as fragile and dispossessed beings, an issue which takes prominence in his intervention in the Museo.
The writing of the author of Disgrace blurs the lines that separate fiction from autobiographical subject matter in such a way that it speaks in “third person” memories, a fully fictionalised exercise of confession, referred to by the writer on numerous occasions in terms of “alter biography”. This endeavour to expand the genre of the novel, enabling the tools of fiction to serve lyricism, diary entries or essays, does, in fact, commonly run across the breadth of his literary output, manifesting his ability to lay down a new paradigm which goes beyond naturalism as the dominant canon in literary fiction. This break from tradition is punctuated in Coetzee’s affirmation that “the word-mirror is broken, irreparably”, a sentence from the novel Elizabeth Costello. The character that lends the novel its name is an ageing writer who travels around the world giving lectures on animal rights, one of which, “The Lives of Animals”, represents a landmark in animal literature.
This lecture, one of the few public interventions by the author, reflects the Museo’s interest in the artist’s autobiographical narrations, in reflective and analytical writing in processes of creation, and in the ethical and intellectual commitment to memory and history considered in the present. The lecture will be followed by a debate and a question-and-answer session between the audience and the writer, and will be moderated by José Carlos Miralles.
Framework
Capital Animal
Organised by
Museo Reina Sofía
Participants
J. M. Coetzee (Cape Town, South Africa, 1940) is the author of numerous essay collections and twelve novels, which include Waiting for the Barbarians (1980), Life and Times of Michael K (1983), The Master of Petersburg (1994), Disgrace (1999, adapted for cinema in 2008 by the director Steve Jacobs) and Elizabeth Costello (2003). In 2012, under the title Here and Now, his three-year correspondence with Paul Auster was also released. 2013 saw the publication of his last and most recent novel, The Childhood of Jesus, an account that explores family ties in an analytical and distant style. The Life and Times of Michael K and Disgrace both received the Booker Prize, the most prestigious award in English literature, with Coetzee becoming the only author to be awarded the prize on two occasions. Furthermore, he has lectured at the State University of New York at Buffalo and at the John Hopkins University, Baltimore, and, until his retirement in 2002, he was a Professor of English Literature at the University of Cape Town. He currently lives in Australia, where he carries out research in the English Department of the University of Adelaide.
José Carlos Miralles is a Professor of Latin Studies at the University of Murcia. He works as a researcher of Latin and Neo-Latin literature and lectures on the Renaissance. Since 2007 he has maintained an epistolary relationship with J. M. Coetzee.
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If Blackness enters Western modernity from the position of the Middle Passage and its afterlives, it also names a condition from which alternative modes of being, knowing and relating are continually forged. From within this errant boundarylessness, Black creative-intellectual practice unfolds as what might be called a history of touches: transmissions, residues and socialities that unsettle the fantasy of pure or self-contained knowledge.
Situated within Black radical aesthetics, Black feminist theory and diasporic poetics, the seminar traces a genealogy of Black Study not as an object of analysis but as methodological propositions that continue to shape contemporary aesthetic and political life. Against mastery as the horizon of study, the group shifts attention from what we know to how we know. It foregrounds creative Black methodological practices—fahima ife’s anindex (via Fred Moten), Katherine McKittrick’s expansive use of the footnote, citation as relational and loving labour, the aesthetics of Black miscellanea, and Christina Sharpe’s practices of annotation—as procedures that disorganise dominant regimes of knowledge. In this sense, Black Study is approached not as a discrete academic field but as a feel for knowing and knowledge: a constellation of insurgent practices—reading, gathering, listening, annotating, refusing, world-making—that operate both within and beyond the university.
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African Guernica is the monumental drawing created by Dumile Feni in the 1960s. The piece is being shown for the first time outside South Africa, in dialogue with Picasso’s Guernica (1937). This provocative physical encounter invites us to consider both artworks as anti-war and anti-totalitarian manifestos, albeit relating to different places and moments.
For this panel, Siyabonga Njica presents the artistic and cultural context of 1960’s Johannesburg, contemporary to Dumile Feni’s work. Thozama April analyses the artist’s corpus in relation to archival practices and conservation. Finally, Elvira Dyangani Ose offers a reading of African Guernica through the lens of Pan-African modernity and the collapse of the centre-periphery duality.
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History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica
Tuesday 24 March 2026 – 6.30p.m.
On the occasion of the exhibition History Doesn’t Repeat Itself, but It Does Rhyme. Dumile Feni: African Guernica, its curator Tamar Garb, introduced by Manuel Segade, Director of the Museo Reina Sofía, highlights the opportunities for reflection offered by the presentation at the Museum of African Guernica (1967), the African sibling to Pablo Picasso’s emblematic painting. The event concludes with the live premiere of a musical composition created especially for this event by the South African artists Philip Miller and Tshegofatso Moeng.
African Guernica, the monumental drawing produced by the South African artist Dumile Feni (Worcester, South Africa, 1942 – New York, 1991) in the 1960s, is presented for the first time outside South Africa in dialogue with Picassos’s Guernica (1937). Dumile Feni’s work is deeply connected to its place of origin, emerging from the context of state violence and institutionalised racial oppression under apartheid. Viewing both artworks side by side makes it possible to consider their shared references and strategies, their similarities and synergies, as well as the formal and figurative differences that largely result from their geographical and temporal separation.
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