by Richard Mudariki
As I was finalizing this article this past Sunday, I received a WhatsApp message from a colleague in Botswana containing a link to a CBS Sunday Morning video featuring an interview with Larry Gagosian, the renowned American art dealer. Gagosian recounted his humble beginnings selling posters on the streets and how that venture evolved into his global art empire. This narrative sparked a reflection on the intrinsic value of art posters. Historically, posters have transcended their initial purpose as mere advertisements or decorative pieces to become coveted collector's items. Works like Henri de Toulouse-Lautrec's cabaret posters or the psychedelic concert posters of the 1960s now fetch significant sums at auctions, underscoring their cultural and monetary worth.
This notion of posters as historical and artistic artifacts was further reinforced by Theaster Gates' recent exhibition at White Cube, 1965: Malcolm in Winter: A Translation Exercise. Gates’ show, an archival tribute to Malcolm X, includes an archival collection of posters that document the times - visual records that capture the political urgency and cultural shifts of the civil rights movement. His work highlights how posters serve as both historical evidence and artistic statements, preserving moments of transformation while shaping public consciousness.
At the 2025 Investec Cape Town Art Fair, I presented art election posters printed on quality archival paper with artHARARE, alongside reimagined party political posters echoing the visual language of global elections held between 2023 and 2024. The Mail & Guardian described this art presentation as one of the fair’s standout exhibitions. This artistic intervention explored the intersection of politics and art, highlighting the roles artists play in shaping political discourse.
The 2025 Artists General Election, reimagined the democratic process by positioning artists as candidates in a symbolic election. Inspired by recent elections across the globe - from Zimbabwe, South Africa, Rwanda, Botswana, the UK, India, Brazil, Chile, Colombia to the USA - this project examined themes of power, influence, and choice while emphasizing the artist’s role in contemporary society. Held from February 21 - 23, the election featured 20 artists from South Africa, the United States, the United Kingdom, Botswana, Zimbabwe, Canada, Nigeria, and Uganda.
These posters were more than just promotional tools, they were canvases reflecting societal sentiments, critiques, and aspirations. They became symbols of an era at the crossroads of change. One particularly striking poster, featuring a work by Wilfred Timire, boldly declared: "An Artist for President – The People's Choice." This piece became a focal point at the fair, sparking discussions about the plausibility of an artist assuming a leadership role. On February 28, this notion was unexpectedly reinforced by a global political event: an intense exchange between U.S. President Donald Trump and Ukrainian President Volodymyr Zelensky dominated international headlines. Both leaders share an unconventional political trajectory, having entered politics from the entertainment industry. Zelensky, a comedian and actor, gained fame for his role in Servant of the People, in which he portrayed a fictional Ukrainian president, while Trump was widely recognized for his tenure as the host of The Apprentice. Their ascendancy blurred the lines between art and politics, making the concept of an artist-president less far-fetched than it initially seemed.
Central to this initiative was the reimagining of the ballot box as a sculptural artwork. I conceptualized, designed, and created the ballot box used in the 2025 Artist General Election. Constructed from five cotton duck canvases, the minimalist yet thought-provoking structure encapsulated both the political and artistic dimensions of choice. It was not merely a vessel for votes but a commentary on the nature of selection, expression, and the art of democracy.
The box’s design - a cube made of raw cotton duck canvases - symbolized the boundless potential of the medium of painting. Each of the the five canvases represented a choice, a moment of creation, a vote cast into the ether. The top of the box paid homage to Italian artist Lucio Fontana’s iconic slashed canvases, which challenged traditional artistic boundaries. In slashing the canvas, I mirrored the act of artistic deconstruction, provoking contemplation on the relationship between choice and consequence. Just as Fontana’s interventions altered the perception of art, so too did the voters’ selections alter the narrative of this symbolic election. Every ballot placed in the box became an integral part of an evolving artistic and political dialogue.
The slash - potent in its symbolic rupture - invited viewers to reflect on the intersection of democracy and artistic expression. The ballot box, traditionally a utilitarian object, was transformed into a sculptural entity that engaged participants in an ongoing discourse about art’s societal role. In this context, the act of voting became a creative gesture, reinforcing the idea that artistic intervention can shape public consciousness and political engagement.
While many anticipated the announcement of a single winning artist, the outcome of the Artist General Election was unexpected. The declared winner was not an individual but an artwork. Titled ART, this installation piece - composed of the colorful ballot papers cast during the election - emerged as a playful yet profound declaration of artistic triumph. The letters A, R, and T were formed from the ballots, symbolizing the collective participation of voters and artists alike. This piece was not merely a result; it was a testament to art’s ability to unify, provoke, and inspire. The installation engages viewers in a dialogue about the nature of artistic authorship, emphasizing that creativity is a communal endeavor rather than an isolated pursuit.
ART itself triumphed over conventional notions of competition and judgment. The work’s dynamic, ever-shifting nature underscored the spontaneity and unpredictability of artistic creation. By transforming the act of voting into an artistic intervention, the project blurred the boundaries between democracy and creativity, proving that every voice - whether of an artist or an observer - contributes to the broader artistic landscape.
The 2025 Artist General Election stands as a historic intervention, challenging traditional perceptions of governance and art’s role in public discourse. It underscored the power of artistic expression to inspire change, provoke thought, and bridge divides. In an era where the boundaries between disciplines are increasingly fluid, this initiative reaffirmed art’s enduring significance as a catalyst for dialogue, reflection, and transformation.
*Image source - https://foreignpolicy.com/2025/02/28/trump-zelensky-meeting-ukraine-russia-oval-office/?tpcc=recirc_latest062921
Richard Mudariki is an artist, cultural producer and entreprenuer. He hold a BA Honours degree in Archaeology, Cultural Heritage and Museum Studies from the Midlands State University in Gweru, Zimbabwe
