Ralph Ziman, a dedicated pacifist and conscientious objector from South Africa, has taken on an unexpected challenge over the last decade: transforming deadly weapons into art.
His ambitious project, titled Weapons of Mass Production, encapsulates this vision through a trilogy that aims to recontextualize symbols of violence into icons of peace.
The trilogy began with The AK-47 Project, followed by The Casspir Project, and recently concluded with The MiG-21 Project, which debuted at The Museum of Flight in Seattle in June.
Ziman initiated The AK-47 Project in 2013, creating intricate replicas of the iconic assault rifle using glass beads and wire, in collaboration with artisans from South Africa and Zimbabwe. The project concluded in 2017, paving the way for The Casspir Project that began in 2015.
In this project, Ziman and his team transformed an 11-ton Apartheid-era Casspir armored vehicle into a work of art adorned with hand-beaded panels, completed in 2018.
For the final installment, The MiG-21 Project, Ziman expanded his vision by covering a 51-foot-long decommissioned Soviet-designed MiG-21 fighter jet with approximately 70 million glass beads, requiring nearly five years of meticulous effort.
Through Weapons of Mass Production, Ziman seeks to spark conversations about the issues of weapon proliferation globally.
He underscores the stark contrast between the availability of funding for military endeavors versus essential services like education and healthcare.
Ziman states, “I really want to talk about the proliferation of weapons around the world, and the most dangerous weapon of all time, the AK-47, and how many people it’s killed. Some people estimate 100 million or 500 million people.”
His commentary also sheds light on the historical significance of the Casspir, which was deployed in South Africa to intimidate anti-Apartheid activists but has resurfaced in street protests across the United States.
Ziman highlights that the MiG-21 is the most mass-manufactured supersonic fighter aircraft in history, with around 12,000 units produced.
His work serves not only as a reflection on his own experiences growing up amid the Apartheid regime but also as a call for societal change.
Ziman emphasizes the urgent relevance of his message today, stating, “I think it’s even more relevant now than it was maybe five, 10 years ago when I started it.”
He draws attention to the political landscape in the U.S., observing the contradictions in migration policies and the manipulation of narratives around oppression.
Weapons of Mass Production also champions the artistry and cultural heritage of Indigenous Southern African beadwork, an essential element of the project.
Ziman has collaborated closely with artisans from Zimbabwe and Ndebele women from South Africa’s Mpumalanga province, renowned for their beadwork techniques, since the inception of The AK-47 Project.
However, the logistics of the project became complicated when the COVID-19 pandemic disrupted plans for collaboration.
Ziman, who has been living in Los Angeles, has not been able to visit South Africa since the onset of the pandemic, creating challenges in the collaborative process but also presenting opportunities for innovative solutions by the team.
Despite the vast distance and time difference, the artisan team in Johannesburg, who have become like family to Ziman, have succeeded in executing the artistic vision with remarkable dedication.
Ziman appreciates their commitment, stating, “The artisans, the team, they stepped up, and they run the studio in Johannesburg, and they’ve just done an amazing job. It’s been a wonderful experience.”
He has made efforts to bring these talented bead artists to the U.S. since 2019, but visa challenges have hindered those plans.
Ziman expresses disappointment at the current political conditions preventing even one artist from visiting, although their work will be represented at The Museum of Flight through various collections in the museum gift shop.
The MiG-21 is prominently displayed alongside an array of Afrofuturistic flight suits designed by Ziman and his collaborators, along with large-scale photographs, videos, and interactive activities that complement the exhibit.
Matt Hayes, CEO of The Museum of Flight, shares that the MiG-21 not only diversifies the museum’s narrative but also encourages necessary dialogues surrounding the histories of war and peace.
Hayes elaborates on how harnessing the blend of history and art can enrich conversations, stating, “History tends to do that, and you combine history and art, and you can get even that much more relevance in a deeper conversation.”
He emphasizes the importance of personal stories tied to historical artifacts, aiming for visitors to engage with these narratives rather than merely technical specifications.
Cody Othoudt, the museum’s lead exhibit developer, reflects on the collaborative effort required to merge artistic expression with traditional exhibit formats.
He notes that Ziman’s early vision of creating an experience that would captivate audiences and foster dialogue has been achieved with The MiG-21 Project.
Ziman highlights the broader lesson stemming from the collaborative success of this project, pointing out how diverse cultures can unite to create something beautiful.
He asserts, “If we can get things done across the world — different languages, different cultures — Americans, South Africans, English people, Latinos — and this is the result, this is where we can do that. We work together.”
Through both an artistic lens and a societal critique, Ziman’s Weapons of Mass Production trilogy serves as a powerful statement on the effects of conflict and the potential for transformation through art.
image source from：seattlemag
