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‘Together, hand in hand, with our matches and our necklaces, we shall liberate this country 13 April 1986’ – Winnie Madikizela Mandela

In reading Lungiswa Gqunta’s body of work Qokobe, an overarching sense of discomfort is key. The smell of petrol is pervasive, and the overwhelming quantity of glass bottles stuffed with fuel drenched fabric, reference, and at times embody the globally administered home-made explosive that is the petrol bomb. These weapons of revolutionary violence litter the walls and floor, and serve both to envelop the senses of the viewer, and to expose the kind of …