Art from Africa booms worldwide: Analysis with Marie-Cécile Zinsou • FRANCE 24 English

Key Concepts

• Museum of West African Art (MOWAA): A new, modern museum in Benin City, Nigeria, opening to the public.
• Benin Bronzes: A collection of artifacts stolen by British soldiers from the Benin Kingdom in 1897.
• Restitution: The act of returning stolen or looted art to its country of origin.
• African Contemporary Art: The burgeoning art scene across the African continent, characterized by new initiatives, museums, and prominent artists.
• Art X Lagos: A contemporary art fair taking place in Lagos, Nigeria.

Museum of West African Art (MOWAA) Opening and Significance

The transcript highlights the upcoming opening of the Museum of West African Art (MOWAA) in Benin City, Nigeria, as a significant event for the art world, particularly in West Africa. Described as "one of the most modern museum[s] in the world," its infrastructure is lauded, and the exhibition planned by Yinka Shonibare, presented as the "Venice Biennale as the Nigerian pavilion," is anticipated. The opening is seen as a crucial step towards increasing public access to cultural initiatives and museums on the continent.

The Rise of African Contemporary Art

The discussion connects the MOWAA opening to a broader trend of exploding interest in contemporary African art over the past few years. Mari Cecil Zenzo attributes this resurgence to a historical context where African kingdoms once supported vibrant art scenes and important sponsors. While artists faced difficulties in the past due to a lack of government support and a nascent collector base, the situation has dramatically changed.

Key changes over the last 20 years include:

• A vibrant art scene across West Africa and the rest of the continent.
• The emergence of new events and museums.
• Private individuals opening museums and foundations.
• Active involvement of prominent artists such as Yinka Shonibare, Ibrahim Mahama, and Amoako Bafo, who are creating spaces, residencies, and welcoming the public.

This collective effort is seen as a driving force behind the current dynamism of the African art market.

Controversy Surrounding the MOWAA and the Benin Bronzes

Despite the excitement, the MOWAA faces controversy, particularly from the local kingdom around Benin City. The Oba has reportedly called the museum "offensive" and his family is attempting to have it shut down, alleging that promises of securing the Benin Bronzes were used as a pretext for donations.

Mari Cecil Zenzo acknowledges that controversies are common with new initiatives but urges a focus on the constructive aspects. She states, "Let's not stay too long on the polemics. Every country has them. We have them in Benin. They have them in Nigeria. Let's concentrate on what's happening in a constructive way." She believes the museum will exist and will be a valuable tool for communities, schools, and children, regardless of whether it ultimately hosts the Benin Bronzes.

The Benin Bronzes: History, Significance, and Restitution

The transcript delves into the crucial issue of the Benin Bronzes, describing them as "almost as important as the Greek marbles" and the "second most reclaimed looted art."

Key details about the Benin Bronzes:

• Origin: Taken from Benin City in 1897 by British soldiers during the British invasion and takeover of the Benin Kingdom.
• Purpose of Theft: The British intended to sell the bronzes to recoup the costs of their colonial expeditions.
• Perception in Europe: They were considered the most important African artworks seen in Europe at the time.
• Dispersal: Thousands of bronzes were brought back to Europe and sold to various countries, including European nations and America, to fund the colonial expeditions.
• Current Status: Nigeria is actively seeking their return.

The discussion highlights the complexities of restitution policies, contrasting the situation in Benin with Nigeria.

• Benin: Received 26 objects from the French government, marking an early restitution. The Benin state decided to house them in a museum for public access.
• Nigeria: The situation is described as "very different" due to its federal structure. Germany and England have returned some Benin Bronzes, with the Nigerian government sometimes returning them to the Oba. This means the former owners have received them back, making it a more complex issue than a national problem.

Zenzo suggests that the significant financial implications associated with the museums holding these bronzes contribute to the political complexities, stating, "there is a lot of money in the museum so there's a lot of money at stake."

Germany's Role in Restitution

Germany is identified as a leader in the restitution of Benin Bronzes. Following France's initiative under Emmanuel Macron to consider and enact restitution, Germany has taken similar steps with Nigeria, deciding to send back these "treasures." This marks a significant moment where Benin Bronzes will be seen in Nigeria for the first time, rather than solely in Western institutions like New York, London, Paris, and Berlin.

Conclusion

The transcript paints a picture of a dynamic and evolving African art landscape, marked by the opening of significant new institutions like the MOWAA and a growing global appreciation for contemporary African artists. While the MOWAA faces initial controversy, its potential to serve as a cultural hub is emphasized. The complex and emotionally charged issue of the Benin Bronzes and their restitution is explored, with Germany emerging as a key player in returning these historically significant artifacts to Nigeria. The overall sentiment is one of optimism for the future of African art and cultural heritage.