en træskulptur - Prampram - Ghana

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Ti års erfaring med historiske våben, rustninger og afrikansk kunst.

Estimat  € 800 - € 900
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En træskulptur fra Ghana med titlen 'A wooden sculpture', oprindelse Prampram, leveres med stand, højde 172 cm, vægt 2,2 kg, i rimelig stand.

AI-assisteret oversigt

Beskrivelse fra sælger

Prampram staff, Southern region, Prampram town, Ghana. Incl stand.

This prestige staff or scepter, attributed to the very rare and confidential corpus of Prampram statuary (Ga-Dangme people, coastal region of southeastern Ghana), is characterized by a repetitive and highly ritualized vertical totemic structure.

The object takes the form of a long, vertical pole carved from a single block, onto which several stylized anthropomorphic figures are superimposed. This vertical, repetitive structure evokes the continuity of lineage, generational stacking, and the connection between the earthly world and the realm of the ancestors. Each figure embodies the minimalist aesthetic canon characteristic of sculptures from this region: a very elongated, slender body, arms close to the torso ending abruptly without detail for the hands, and simplified legs. The figures have ovoid or spherical heads mounted on long, cylindrical necks. The faces exhibit a strict economy of means: the eyes and mouths are simple, punctiform incisions, and the nose is reduced to a thin, straight vertical ridge. Between the different sections and at the base of each figure, the wood is punctuated by geometric bulges shaped like hourglasses or spools. On several segments, natural fiber collars or cord bindings are visible, a common ritual addition used to secure the object's magical or symbolic power. The lower part of the staff, just before the terminal sleeve inserted into the base, is carved with a helical twist motif. This spiral movement creates a dynamic break with the vertical rigidity of the rest of the piece.

Historical inquiry into the origins and migration history of the Prampram people situates this community within the broader ethnolinguistic constellation known as the Ga‑Dangme of southeastern Ghana. The Ga‑Dangme category designates a group of related peoples speaking varieties of the Kwa branch of the Niger‑Congo language family, with Dangme dialects spoken in the coastal plain extending from Kpone to Ada and including groups such as the Ada, Krobo, Ningo, Osudoku, Shai, and Prampram (identified in sources as the Gbugbla subgroup) and Ga dialects concentrated around Accra and Tema. The linguistic classification underscores shared structural affinities among these speech communities and reflects deeper historical connections across the region, forming the linguistic substrate of present‑day Ga‑Dangme identity.

Reconstruction of early migratory narratives among Ga‑Dangme groups relies principally on oral tradition, supplemented by historical linguistics and early colonial records. Multiple oral histories recorded in local archives and community memory posit a long series of migrations from the eastern reaches of Africa toward the Gulf of Guinea. These traditions, while variable in detail, describe ancestral movements from regions associated in cosmological accounts with zones as far east as Egypt and Southern Sudan, with subsequent sojourns in territories identified as Same in Niger and Ile‑Ife in present‑day Nigeria before westward movement into Benin, Togo, and ultimately the coastal plains of modern Ghana.

The historical layers embedded in these narratives cannot be uncritically equated with documented pre‑colonial migration events in the manner of written histories, but they constitute an indigenous archive of memory that complements archaeological, linguistic, and ethnographic evidence. These stories position the Ga‑Dangme — including the group ancestral to the Prampram community — as part of a long trajectory of movement along established trans‑Saharan and trans‑Sahelian routes, gradually descending the Niger River corridor and crossing the Volta River before arriving on the Accra plains by the thirteenth to fourteenth centuries.

Within Ghanaian historical geography, the Dangme groups, including the Prampram people, are understood to have coalesced into discrete communities in the Greater Accra coastal plains by roughly 1400 CE, with settlement patterns articulated around clan‑based landholdings and autonomous town structures. Dina Kropp‑Dakubu and other historical linguists note that the “in‑migration of the Ga‑Dangme‑speaking people… was probably complete by CE 1400” and that the distinctions between Ga and Dangme linguistic varieties crystallized over subsequent centuries of settlement and interaction with neighboring groups.

Sociocultural organization among Dangme societies reflects these deep histories of mobility and adaptation. Many Dangme communities, including Prampram, have traditionally structured kinship and land tenure through patrilineal descent, while maintaining complex ritual institutions and performative practices that reinforce social continuity. Ritual festivals such as Homowo, interpreted as an expression of agricultural resilience and communal memory of past hardship, are central to communal identity and trace shared cultural frameworks across Ga‑Dangme groups.

Early European sources from the seventeenth and eighteenth centuries provide further corroboration of the presence of Dangme communities at important coastal entrepôts during the pre‑colonial and early colonial eras. Historical records of trade and contact — for example, references in merchant accounts to towns identified as Ponnie (Kpone), Lay (Ningo), and Pompena (Prampram) — indicate that these communities were integrated into the emergent Atlantic economy, functioning as nodes in commercial networks linking interior producers with European traders.

Settlement in the Prampram area itself took shape against this backdrop of coastal exchange and local social evolution. Prampram (identified in colonial and later cartographic sources as Gbugbla) emerged as a distinct town entity with its own chiefly lineage and system of customary authority, engaging in fishing, small‑scale farming, and trade long before formal colonial administration. Its linguistic identity as Dangme and its integration into the regional festival calendar situate the community firmly within the cultural matrix of the Ga‑Dangme coastal societies.

While oral accounts often extend ancestral origins to ancient Near Eastern contexts, such as migrations from Israel in the first millennium BCE, these narratives should be read primarily as mytho‑historical frameworks through which the Ga‑Dangme peoples articulate notions of antiquity, spiritual lineage, and existential continuity rather than as literal geographic provenance verified by archaeological data. Such motifs — recurring in multiple African oral traditions — serve to anchor local histories in cosmological horizons that transcend immediate geographic memory.

Colonial encounter in the eighteenth and nineteenth centuries introduced new political dynamics but did not fundamentally alter the ethnic composition of the Prampram community, which remained rooted in its indigenous Dangme lineage. The town’s participation in coastal trade, including interactions mediated through European trading forts, expanded its economic reach while reinforcing its position within the network of Ga‑Dangme polities.

In sum, the provenance of the Prampram people is best understood as the cumulative outcome of long‑distance movements of Ga‑Dangme ancestors, processes of settlement and differentiation on the Accra plains, and sustained cultural reproduction through local institutions of language, ritual, and social organization. The interdisciplinary synthesis of oral tradition, linguistic classification, and historical documentation affirms that the Prampram community did not arise ex nihilo in the last centuries but emerged from deep historical roots within the dynamic ethnographic landscape of West Africa.

M. E. Kropp Dakubu, Korle Meets the Sea: A Sociolinguistic History of Accra (Oxford University Press, 1997). This work traces the emergence and spread of the Ga and Dangme languages across the coastal plain and analyzes migration traditions and historical contact with other groups; linguistic evidence is used to reconstruct aspects of ethnogenesis.
Carl Christian Reindorf, The History of the Gold Coast and Asante (originally published 1895; Ghana Universities Press edition). A seminal historical account by one of the earliest indigenous historians; it preserves local oral traditions and incorporates them into a cohesive narrative of Gold Coast history that includes references to coastal peoples and migration movements.
Victoria Ellen Smith (ed.), Voices of Ghana (Cambridge University Press, 2018). This anthology includes contributions on many Ghanaian ethnic traditions and oral histories, including material relevant to Ga‑Dangme cultural identity and historical narrative.
Joshua N. Kudadjie, “Aspects of Ga and Dangme Thought about Time as Contained in Their Proverbs.” In Time and Temporality in Intercultural Perspective, Brill (1996). A disciplinary study offering insight into Ga‑Dangme conceptualizations that intersect with historical reflection and cultural expression.

This information is created by AI and based on published ethnographic and art-historical sources.

Sælger's Historie

Wolfgang Jaenickes engagement med afrikansk kunst begyndte ikke i felten eller på markedet, men i et mere stille, indadvendt rum—blandt papirer, bøger og genstande, der tilhørte hans far. Arkivet om Tysklands tidligere kolonier var ikke arrangeret til at fortælle én historie; det antydede mange. Det indbjød til granskning snarere end til ærbødighed, og det lærte Jaenicke tidligt, at objekter aldrig er tavse. De bærer tid inden i sig—frakturer og kontinuitet holdt i samme form—og de beder om at blive læst lige så omhyggeligt som tekster. I mere end et kvart århundrede har Jaenicke arbejdet som samler, mægler og formidler, selvom ingen af disse begreber helt fanger formen af hans praksis. Det, der engang blev gruppering under betegnelsen „Tribal Art“ alt for afslappet, har aldrig fremstået for ham som en forseglet eller historisk kategori. Det er i stedet et sæt levende traditioner, der konstant forhandler nutiden. Hans akademiske uddannelse—i etnologi, kunsthistorie og sammenlignende jura—gav en grammatik. Sproget selv lærte han et andet sted. I Mali, Cameroun, Côte d’Ivoire, Burkina Faso, Togo og Ghana opstod viden langsomt, gennem gentagne møder, der hardened til relationer, og gennem tillid bygget ikke hele tiden, men over år. Mali blev den gravitationscentrale for denne erfaring. Mellem 2002 og 2012 boede og arbejdede Jaenicke i Bamako og Ségou, hvor han drev Tribalartforum, et galleri med udsigt over Niger-floden. Rumet vogtede ikke let kronologi. Skulpturer og keramik delte rummet med fotografi, og værker af Malick Sidibé—billeder af maliansk ungdom i 1970’erne, selvsikre og ekstravagante—hang ved siden af ældre rituelle former. Effekten var ikke nostalgisk, men opklarende: fortid og nutid ophævede ikke hinanden; de skærpede hinanden. Krigsårerne i 2012 afsluttede dette kapitel brat, som krige har en tendens til at gøre. Men det opløste ikke arbejderne. Sammen med Aguibou Kamaté omorganiserede Jaenicke sig i Lomé, tættere på de steder, hvor mange af objekterne stammer fra og til rutterne, de stadig rejser på. Siden 2018 er Berlin blevet endnu et punkt på dette kort. Galerie Wolfgang Jaenicke driver nu på tværs af Charlottenburg Palace, støttet af et lille team af specialister. Dets fokus hviler særligt på vestafrikanske bronzer og terracottaer—materialer formet af jord og ild, og af hukomelsesformer, der ikke giver let oversættelse. Hvad der adskiller Jaenickes praksis, er ikke kun dets geografiske rækkevidde, men dets indre spænding. Feltarbejde parres med provenance-forskning; handel behandles som uadskillelig fra ansvar. I samarbejde med museer og akademiske initiativer er cirkulation ikke en udnyttelse, men en etisk proces, der forbliver uafsluttet. Målet er ikke at fjerne objekter fra verden og forsegle dem, men at holde dem læsbare inden i den—at give dem mulighed for at fortsætte med at tale, selv når betingelserne for deres tale ændrer sig. ------------ Galerie Wolfgang Jaenicke er et Berlin-baseret galleri, der specialiserer sig i vestafrikansk skulptur, bronzer, terracottaer, masker og nutidig afrikansk kunst. Det ledes af Wolfgang Jaenicke, hvis arbejde kombinerer indsamling, handel, provenance-forskning, feltarbejde og arkivdokumentation. Ifølge galleriets egen fortælling studerede Jaenicke etnologi, kunsthistorie og sammenlignende jura og har arbejdet inden for området af afrikansk kunst i mere end femogtyve år. Hans aktiviteter udviklede sig gennem langsigtet engagement i lande som Mali, Cameroun, Côte d’Ivoire, Burkina Faso, Ghana og Togo. I stedet for at præsentere afrikansk kunst som en lukket historisk kategori beskriver han den som en fortsat kulturel tradition formet af levende fællesskaber og skiftende historiske kontekster. En særlig vigtig fase af hans karriere fandt sted i Mali, hvor han boede og arbejdede cirka mellem 2002 og 2012 i Bamako og Ségou. Der drev han Tribalartforum, et galleri, der kombinerede historisk afrikansk skulptur med moderne afrikansk fotografi, inklusive værker af Malick Sidibé. Den politiske og militære krise i Mali i 2012 førte til lukningen af denne fase af aktiviteten. Senere, sammen med Aguibou Kamaté, fortsatte Jaenicke arbejdet fra Lomé, Togo, før han etablerede en galleri-tilstedeværelse i Berlin nær Charlottenburg Palace. Galleriet lægger særlig vægt på vestafrikanske bronzer, terracottaer, værker relateret til Benin og Ife, Nok-skyts, Dogon-kunst, Baule-skulptur, Senufo-objekter og Yoruba-materialer. Et karakteristisk aspekt af Jaenickes offentlige holdning er hans gentagne fokus på provenance-transparens og restitutions-debatter. På flere offentliggjorte objektrekorder diskuterer galleriet eksplicit spørgsmål omkring eksportdokumentation, UNESCO-konventioner, ejerhistorier og kommunikation med forskere og restitutionsforskere. Disse udsagn afspejler bredere nutidige debatter om cirkulationen af afrikansk kulturarv, lovlighed, samlerhistorie og museumskøbspraksis. Galleriet opretholder omfattende online-arkiver og kataloger, der dokumenterer hundreder af afrikanske objekter, herunder Benin- og Ife-bronzer, Nok-terrakottaer, Dogon-skulpturer, Baule-figurer, Fon-objekter, Moba-figurer og andet vestafrikansk materiale. For forskere interesserede i historien om handeln med afrikansk kunst repræsenterer Jaenicke en senere generation af forhandlere sammenlignet med personer som John J. Klejman. Hvor Klejman tilhørte efterkrigstidens New York-marked fra 1950’erne til 1970’erne, er Jaenickes arbejde formet af nutidige bekymringer med felt-dokumentation, provenance-forskning, restitutionsdiskussioner, digitale arkiver og direkte engagement med vestafrikanske netværk og kunstnere. Denne tekst er baseret på AI Information
Oversat af Google Oversæt

Prampram staff, Southern region, Prampram town, Ghana. Incl stand.

This prestige staff or scepter, attributed to the very rare and confidential corpus of Prampram statuary (Ga-Dangme people, coastal region of southeastern Ghana), is characterized by a repetitive and highly ritualized vertical totemic structure.

The object takes the form of a long, vertical pole carved from a single block, onto which several stylized anthropomorphic figures are superimposed. This vertical, repetitive structure evokes the continuity of lineage, generational stacking, and the connection between the earthly world and the realm of the ancestors. Each figure embodies the minimalist aesthetic canon characteristic of sculptures from this region: a very elongated, slender body, arms close to the torso ending abruptly without detail for the hands, and simplified legs. The figures have ovoid or spherical heads mounted on long, cylindrical necks. The faces exhibit a strict economy of means: the eyes and mouths are simple, punctiform incisions, and the nose is reduced to a thin, straight vertical ridge. Between the different sections and at the base of each figure, the wood is punctuated by geometric bulges shaped like hourglasses or spools. On several segments, natural fiber collars or cord bindings are visible, a common ritual addition used to secure the object's magical or symbolic power. The lower part of the staff, just before the terminal sleeve inserted into the base, is carved with a helical twist motif. This spiral movement creates a dynamic break with the vertical rigidity of the rest of the piece.

Historical inquiry into the origins and migration history of the Prampram people situates this community within the broader ethnolinguistic constellation known as the Ga‑Dangme of southeastern Ghana. The Ga‑Dangme category designates a group of related peoples speaking varieties of the Kwa branch of the Niger‑Congo language family, with Dangme dialects spoken in the coastal plain extending from Kpone to Ada and including groups such as the Ada, Krobo, Ningo, Osudoku, Shai, and Prampram (identified in sources as the Gbugbla subgroup) and Ga dialects concentrated around Accra and Tema. The linguistic classification underscores shared structural affinities among these speech communities and reflects deeper historical connections across the region, forming the linguistic substrate of present‑day Ga‑Dangme identity.

Reconstruction of early migratory narratives among Ga‑Dangme groups relies principally on oral tradition, supplemented by historical linguistics and early colonial records. Multiple oral histories recorded in local archives and community memory posit a long series of migrations from the eastern reaches of Africa toward the Gulf of Guinea. These traditions, while variable in detail, describe ancestral movements from regions associated in cosmological accounts with zones as far east as Egypt and Southern Sudan, with subsequent sojourns in territories identified as Same in Niger and Ile‑Ife in present‑day Nigeria before westward movement into Benin, Togo, and ultimately the coastal plains of modern Ghana.

The historical layers embedded in these narratives cannot be uncritically equated with documented pre‑colonial migration events in the manner of written histories, but they constitute an indigenous archive of memory that complements archaeological, linguistic, and ethnographic evidence. These stories position the Ga‑Dangme — including the group ancestral to the Prampram community — as part of a long trajectory of movement along established trans‑Saharan and trans‑Sahelian routes, gradually descending the Niger River corridor and crossing the Volta River before arriving on the Accra plains by the thirteenth to fourteenth centuries.

Within Ghanaian historical geography, the Dangme groups, including the Prampram people, are understood to have coalesced into discrete communities in the Greater Accra coastal plains by roughly 1400 CE, with settlement patterns articulated around clan‑based landholdings and autonomous town structures. Dina Kropp‑Dakubu and other historical linguists note that the “in‑migration of the Ga‑Dangme‑speaking people… was probably complete by CE 1400” and that the distinctions between Ga and Dangme linguistic varieties crystallized over subsequent centuries of settlement and interaction with neighboring groups.

Sociocultural organization among Dangme societies reflects these deep histories of mobility and adaptation. Many Dangme communities, including Prampram, have traditionally structured kinship and land tenure through patrilineal descent, while maintaining complex ritual institutions and performative practices that reinforce social continuity. Ritual festivals such as Homowo, interpreted as an expression of agricultural resilience and communal memory of past hardship, are central to communal identity and trace shared cultural frameworks across Ga‑Dangme groups.

Early European sources from the seventeenth and eighteenth centuries provide further corroboration of the presence of Dangme communities at important coastal entrepôts during the pre‑colonial and early colonial eras. Historical records of trade and contact — for example, references in merchant accounts to towns identified as Ponnie (Kpone), Lay (Ningo), and Pompena (Prampram) — indicate that these communities were integrated into the emergent Atlantic economy, functioning as nodes in commercial networks linking interior producers with European traders.

Settlement in the Prampram area itself took shape against this backdrop of coastal exchange and local social evolution. Prampram (identified in colonial and later cartographic sources as Gbugbla) emerged as a distinct town entity with its own chiefly lineage and system of customary authority, engaging in fishing, small‑scale farming, and trade long before formal colonial administration. Its linguistic identity as Dangme and its integration into the regional festival calendar situate the community firmly within the cultural matrix of the Ga‑Dangme coastal societies.

While oral accounts often extend ancestral origins to ancient Near Eastern contexts, such as migrations from Israel in the first millennium BCE, these narratives should be read primarily as mytho‑historical frameworks through which the Ga‑Dangme peoples articulate notions of antiquity, spiritual lineage, and existential continuity rather than as literal geographic provenance verified by archaeological data. Such motifs — recurring in multiple African oral traditions — serve to anchor local histories in cosmological horizons that transcend immediate geographic memory.

Colonial encounter in the eighteenth and nineteenth centuries introduced new political dynamics but did not fundamentally alter the ethnic composition of the Prampram community, which remained rooted in its indigenous Dangme lineage. The town’s participation in coastal trade, including interactions mediated through European trading forts, expanded its economic reach while reinforcing its position within the network of Ga‑Dangme polities.

In sum, the provenance of the Prampram people is best understood as the cumulative outcome of long‑distance movements of Ga‑Dangme ancestors, processes of settlement and differentiation on the Accra plains, and sustained cultural reproduction through local institutions of language, ritual, and social organization. The interdisciplinary synthesis of oral tradition, linguistic classification, and historical documentation affirms that the Prampram community did not arise ex nihilo in the last centuries but emerged from deep historical roots within the dynamic ethnographic landscape of West Africa.

M. E. Kropp Dakubu, Korle Meets the Sea: A Sociolinguistic History of Accra (Oxford University Press, 1997). This work traces the emergence and spread of the Ga and Dangme languages across the coastal plain and analyzes migration traditions and historical contact with other groups; linguistic evidence is used to reconstruct aspects of ethnogenesis.
Carl Christian Reindorf, The History of the Gold Coast and Asante (originally published 1895; Ghana Universities Press edition). A seminal historical account by one of the earliest indigenous historians; it preserves local oral traditions and incorporates them into a cohesive narrative of Gold Coast history that includes references to coastal peoples and migration movements.
Victoria Ellen Smith (ed.), Voices of Ghana (Cambridge University Press, 2018). This anthology includes contributions on many Ghanaian ethnic traditions and oral histories, including material relevant to Ga‑Dangme cultural identity and historical narrative.
Joshua N. Kudadjie, “Aspects of Ga and Dangme Thought about Time as Contained in Their Proverbs.” In Time and Temporality in Intercultural Perspective, Brill (1996). A disciplinary study offering insight into Ga‑Dangme conceptualizations that intersect with historical reflection and cultural expression.

This information is created by AI and based on published ethnographic and art-historical sources.

Sælger's Historie

Wolfgang Jaenickes engagement med afrikansk kunst begyndte ikke i felten eller på markedet, men i et mere stille, indadvendt rum—blandt papirer, bøger og genstande, der tilhørte hans far. Arkivet om Tysklands tidligere kolonier var ikke arrangeret til at fortælle én historie; det antydede mange. Det indbjød til granskning snarere end til ærbødighed, og det lærte Jaenicke tidligt, at objekter aldrig er tavse. De bærer tid inden i sig—frakturer og kontinuitet holdt i samme form—og de beder om at blive læst lige så omhyggeligt som tekster. I mere end et kvart århundrede har Jaenicke arbejdet som samler, mægler og formidler, selvom ingen af disse begreber helt fanger formen af hans praksis. Det, der engang blev gruppering under betegnelsen „Tribal Art“ alt for afslappet, har aldrig fremstået for ham som en forseglet eller historisk kategori. Det er i stedet et sæt levende traditioner, der konstant forhandler nutiden. Hans akademiske uddannelse—i etnologi, kunsthistorie og sammenlignende jura—gav en grammatik. Sproget selv lærte han et andet sted. I Mali, Cameroun, Côte d’Ivoire, Burkina Faso, Togo og Ghana opstod viden langsomt, gennem gentagne møder, der hardened til relationer, og gennem tillid bygget ikke hele tiden, men over år. Mali blev den gravitationscentrale for denne erfaring. Mellem 2002 og 2012 boede og arbejdede Jaenicke i Bamako og Ségou, hvor han drev Tribalartforum, et galleri med udsigt over Niger-floden. Rumet vogtede ikke let kronologi. Skulpturer og keramik delte rummet med fotografi, og værker af Malick Sidibé—billeder af maliansk ungdom i 1970’erne, selvsikre og ekstravagante—hang ved siden af ældre rituelle former. Effekten var ikke nostalgisk, men opklarende: fortid og nutid ophævede ikke hinanden; de skærpede hinanden. Krigsårerne i 2012 afsluttede dette kapitel brat, som krige har en tendens til at gøre. Men det opløste ikke arbejderne. Sammen med Aguibou Kamaté omorganiserede Jaenicke sig i Lomé, tættere på de steder, hvor mange af objekterne stammer fra og til rutterne, de stadig rejser på. Siden 2018 er Berlin blevet endnu et punkt på dette kort. Galerie Wolfgang Jaenicke driver nu på tværs af Charlottenburg Palace, støttet af et lille team af specialister. Dets fokus hviler særligt på vestafrikanske bronzer og terracottaer—materialer formet af jord og ild, og af hukomelsesformer, der ikke giver let oversættelse. Hvad der adskiller Jaenickes praksis, er ikke kun dets geografiske rækkevidde, men dets indre spænding. Feltarbejde parres med provenance-forskning; handel behandles som uadskillelig fra ansvar. I samarbejde med museer og akademiske initiativer er cirkulation ikke en udnyttelse, men en etisk proces, der forbliver uafsluttet. Målet er ikke at fjerne objekter fra verden og forsegle dem, men at holde dem læsbare inden i den—at give dem mulighed for at fortsætte med at tale, selv når betingelserne for deres tale ændrer sig. ------------ Galerie Wolfgang Jaenicke er et Berlin-baseret galleri, der specialiserer sig i vestafrikansk skulptur, bronzer, terracottaer, masker og nutidig afrikansk kunst. Det ledes af Wolfgang Jaenicke, hvis arbejde kombinerer indsamling, handel, provenance-forskning, feltarbejde og arkivdokumentation. Ifølge galleriets egen fortælling studerede Jaenicke etnologi, kunsthistorie og sammenlignende jura og har arbejdet inden for området af afrikansk kunst i mere end femogtyve år. Hans aktiviteter udviklede sig gennem langsigtet engagement i lande som Mali, Cameroun, Côte d’Ivoire, Burkina Faso, Ghana og Togo. I stedet for at præsentere afrikansk kunst som en lukket historisk kategori beskriver han den som en fortsat kulturel tradition formet af levende fællesskaber og skiftende historiske kontekster. En særlig vigtig fase af hans karriere fandt sted i Mali, hvor han boede og arbejdede cirka mellem 2002 og 2012 i Bamako og Ségou. Der drev han Tribalartforum, et galleri, der kombinerede historisk afrikansk skulptur med moderne afrikansk fotografi, inklusive værker af Malick Sidibé. Den politiske og militære krise i Mali i 2012 førte til lukningen af denne fase af aktiviteten. Senere, sammen med Aguibou Kamaté, fortsatte Jaenicke arbejdet fra Lomé, Togo, før han etablerede en galleri-tilstedeværelse i Berlin nær Charlottenburg Palace. Galleriet lægger særlig vægt på vestafrikanske bronzer, terracottaer, værker relateret til Benin og Ife, Nok-skyts, Dogon-kunst, Baule-skulptur, Senufo-objekter og Yoruba-materialer. Et karakteristisk aspekt af Jaenickes offentlige holdning er hans gentagne fokus på provenance-transparens og restitutions-debatter. På flere offentliggjorte objektrekorder diskuterer galleriet eksplicit spørgsmål omkring eksportdokumentation, UNESCO-konventioner, ejerhistorier og kommunikation med forskere og restitutionsforskere. Disse udsagn afspejler bredere nutidige debatter om cirkulationen af afrikansk kulturarv, lovlighed, samlerhistorie og museumskøbspraksis. Galleriet opretholder omfattende online-arkiver og kataloger, der dokumenterer hundreder af afrikanske objekter, herunder Benin- og Ife-bronzer, Nok-terrakottaer, Dogon-skulpturer, Baule-figurer, Fon-objekter, Moba-figurer og andet vestafrikansk materiale. For forskere interesserede i historien om handeln med afrikansk kunst repræsenterer Jaenicke en senere generation af forhandlere sammenlignet med personer som John J. Klejman. Hvor Klejman tilhørte efterkrigstidens New York-marked fra 1950’erne til 1970’erne, er Jaenickes arbejde formet af nutidige bekymringer med felt-dokumentation, provenance-forskning, restitutionsdiskussioner, digitale arkiver og direkte engagement med vestafrikanske netværk og kunstnere. Denne tekst er baseret på AI Information
Oversat af Google Oversæt

Detaljer

Etnisk gruppe/ kultur
Prampram
Oprindelsesland
Ghana
Materiale
Træ
Sold with stand
Ja
Stand
Rimelig stand
Titel på kunstværk
A wooden sculpture
Højde
172 cm
Vægt
2,2 kg
TysklandBekræftet
6342
Genstande solgt
99,51%
protop

Rechtliche Informationen des Verkäufers

Unternehmen:
Jaenicke Njoya GmbH
Repräsentant:
Wolfgang Jaenicke
Adresse:
Jaenicke Njoya GmbH
Klausenerplatz 7
14059 Berlin
GERMANY
Telefonnummer:
+493033951033
Email:
w.jaenicke@jaenicke-njoya.com
USt-IdNr.:
DE241193499

AGB

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  • Frist: 14 Tage sowie gemäß den hier angegebenen Bedingungen
  • Rücksendkosten: Käufer trägt die unmittelbaren Kosten der Rücksendung der Ware
  • Vollständige Widerrufsbelehrung

Lignende genstande

Til dig i

Afrikansk kunst og stammekunst