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De mooiste objecten gepresenteerd door {name}

Dimitri André

A bronze statue, in the style of Benin, Nigeria, greenish partly encrusted oxidation

Deutschlandfunk Kultur. Benin kommt Deutschland bei Benin -Bronzen weiter entgegen


What does it mean when we write “in the style of…”, especially when it comes to Benin, Ife or Tada bronzes?

For centuries, these bronzes have been produced in a similar stylistic form and are very popular. For us, the aesthetic value is of particular importance, because art is timeless regardless of its age.

Centuries-old pieces can have little artistic value, just as recent examples can be of excellent quality, and vice versa.

But it depends on each collector which criteria he bases his purchase on. All the pieces we offer have been legally acquired and there are no reports that they were stolen in Nigeria. For many objects, we have also been provided with a wide variety of export papers from Nigeria, be it from the National Museum in Lagos or from the Commission of Museums and Monuments in Abuja, Nigeria.

It is not always easy to verify the authenticity of these papers, as cultural and political changes also occurred with every change of government in Nigeria. Many of our objects were already exhibited in our gallery in 2019. In addition, four years ago we worked intensively together with the “Translocation Project” of the TU University, Berlin, which was the scientific basis for the subsequent restitution negotiations.

A leading representative of this project, initiated by Bénédict Savoy, visited us at our branch in Lomé and we introduced a senior scientist, who now curates the Digital Benin platform to local dealers and collectors of Ife and Benin bronzes in Togo.

I have pointed out several times that it would be useful to publish items from private collections on Digital Benin. On the one hand, to expand the spectrum of scientific researches, because it is not uncommon for us to collect objects that were unknown in the literature. On the other hand, it would serve the purpose of transparency if objects from private collections were made as widely known as possible to the public, also to prevent inadvertently stolen objects from coming onto the market.

Although it can be assumed that we have been known to all institutions dealing with restitution claims for years, Digital Benin should not be limited to museum specimens. The attitude of Professor Plankensteiner is also well known, as she rejects any contact with the art market. We have asked her several times, particularly with regard to the age assignment, to help us with the possibilities in this direction. Here too, we encountered ignorance and only vague suggestions that, in addition to scientific investigations, stylistic art-historical investigations would have to be carried out (Prof. Silvia Dolz). This tendency goes so far that the most recent scientific investigations in the context of age assignments for Benin plates have completely ignored scientific investigations (Kathrin Wysocki-Gunsch, who carried out an assignment according to age periods based on the flanges of Benin plates). We can only express our astonishment at this attitude on the part of the art and cultural sciences. Felix von Luschan, the Nestor of Benin research, would probably turn in his grave if he had heard of such an attitude of science towards the rich heritage of Benin today.

Cultural policy dominates a science that has degenerated into morality alone and has long since abandoned its actual task: to openly and without prejudice approach what is accessible and to examine what is available with openness and transparency to the best of our knowledge. Almost no object in the public collections has reached the museums without trading, without an art market.

I have offered both Mr. Parzinger from the Humbold Forum in Berlin and Mr. Jonathan Fine from the Weltmuseum in Vienna objects from our collection as a donation, which we often have twice and sometimes three times and of which I know are now missing from European collections due to restitution, such as the famous Esieku pair in the Weltmuseum in Vienna, always with the note that “Africa” has priority if there is serious interest, but even there are so many “in style of...” examples that the magazines are now overflowing. Therefore, my suggestion is: Let us talk, let us discuss and deal with each other openly and honestly as equals instead of wielding the moral cudgel.

Wolfgang Jaenicke

Brons - Redelijke staat

Benin - Nigeria

Afrikaanse en tribale kunst

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Ongesigneerd

Afrikaanse en tribale kunst

Dit object is niet meer beschikbaar, maar er valt nog veel meer te ontdekken

Benin - Nigeria

Populair in Afrikaanse en tribale kunst

1363 objecten

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