The newly developed work „At the Threshold“ by Emeka Ogboh is a series of portraits of Benin Bronzes. The Bronzes are currently held in the collection of the State Ethnographic Collections of Saxony (SES). By this intervention the artist draws attention to a largely debated part of the State Art Collections Dresden, addressing the presence and absence of the bronzes at their place of origin and in the collections of German museum. Simultaneously, however, he time raises the question of how European and non-European art are in fact mutually conditioning each other.
One consequence of the Benin Bronzes having been removed from their place of origin in 1897 is that they were stripped of specific life stories. They ceased to have the individual identity and autonomy they had in their original context. Celebrated objects that were once emblematic of religious and political power have become reduced to a state of imposed stasis in the Western museums.
After the delay, we will be presenting the first part in spring 2022, which addresses the museum’s founding networks, collections, and current debates about restitution. In addition, you will also be able to visit our “Backstage” section, where we reflect on our handling of objects and archives while allowing ourselves to be challenged by invited curators. Until then, we will also be working with young adults on post-colonial perspectives for the future, as well as testing robots for an enhanced visitor experience and rebuilding the exhibition spaces step by step for an improved design and look to our museum.
In an artistic photographic piece, Anja Nitz deals with the museum’s collection depot. Furthermore, the museum`s history is confronted by activist approaches concerning the questions of restitution. Thus, the artist collective PARA dedicates itself to a story almost forgotten in Leipzig: Hans Meyer’s abduction of the peak of Kilimanjaro and the question of how it might possibly be returned to Tanzania. Hans Meyer and the so-called Benin Bronzes, which he acquired and were previously stolen by the British, are also examined in greater detail. The Bronzes themselves will not be on display in the exhibition for the time being. Instead, different perspectives on ownerships and restitution are discussed. In addition, the museum presents a visual interpretation of this theme by the artist Emeka Ogboh.
The idea of the network museum takes center stage in the Bonvenon, a new game room that is free of charge to visitors. In the middle of the museum, a third space has been created to enable networking and the exchange of ideas. The concept was developed in close collaboration with students of the Master Art Education, Curatorial Studies degree program at the Zurich University of the Arts, under the direction of Prof. Angeli Sachs. Visitors can browse through books or try out various games in the museum’s living room. In the pub Weißes Roß (“White Horse”), one can hear stories about past rounds of the “Doppelkopf” card game and of regulars' tables back from the GDR era up to the present day. The stage provides a venue for diverse programs and events. The studio offers space for creative projects as well as room to work.
