An art of the court
For a long time, Beninese art remained a court art. It remained closely linked to the king, theoba, and his entourage. The greatest tradition is that of Ifé bronze objects, which began to emerge in the 14thcentury . Statuettes, heads and bas-reliefs depicting historical events were reserved for the court. These works extol the power of the king and support his divine character. Placed on altars, they help theoba connect with his spirit. From these ancient centuries, we also find bronze narrative plaques mounted on the wall. They recount war scenes with remarkably masterful realism.
To admire royal and ritual objects, visit the Musée d'Abomey - Palais royal. Its collection comprises over 1,400 pieces. Bas-reliefs, thrones, statues, altars, recades and vestments testify to the wealth of a civilization spanning three centuries.
Apogee of an art
In Benin, the Ifé (lost-wax) technique gives rise to an original, brighter style. Among the subjects encountered in sculpture, always executed with realism, the dwarf is very present. As early as the 15th century, dwarfs were essential to the court. Assigned to keep watch, the most acrobatic also entertained the king. They were said to have occult powers, which is why they appear on ancestral altars. Animals such as roosters and leopards were also depicted, further symbols of royal power.
From the 16th century onwards, Benin developed an original way of sculpting, whether in bronze or terracotta. Europeans brought coral and glass beads to the court, which attracted theoba's attention and were incorporated into the works. Bas-reliefs became more varied and thicker. They show scenes from everyday life. With the arrival of foreigners, the motif of the Portuguese soldier in military garb made its appearance. Bronze art reached its apogee in the 17th century. Motifs and techniques were enriched. However, the end of the century saw a decline in the quality of production. The colonial conquest dealt a fatal blow to creation, which remained dependent on the political regime.
The Fort Portugais - Musée d'Histoire de Ouidahtraces the history of the town from its foundation to independence in 1960, through major themes such as voodoo, religion and the evolution of cultural links with the New World.
Fon Style
The warrior kingdom of the Fon flourished in the 17th century. Devotees of voodoo, the Fon produced highly original pieces, with some Ewe and Yoruba influences. The word "voodoo" derives from the Yoruba word for "god". Fon fetishes are particularly creative. For some, the base is a wooden structure depicting a short-legged figure. The facial features are concealed beneath an aggregate mixed with animal hair. Others feature a rounded mouth and closed eyes. Some fetishes are frankly enigmatic. Wrapped in cords, they arouse curiosity. Botchios are a category of fetishes that used to stand atop a post at the entrance to a village or dwelling to ward off threats. Whatever their appearance, all fetishes are active forces, often beneficial. The most realistic are adorned with red clay, dried seeds or pearls.
Bas-reliefs, another art form prized by the Fon, tell a story. The bas-reliefs in the palace of Abomey, the capital of this people, are made of hollowed-out clay and painted in bright colors. Even today, the bas-reliefs unfold like comic strips. They depict historical events, symbolic animals such as the beneficent serpent Dan Ayidohwèdo, who bites his own tail, or the god Daghesu, in the guise of an armed man with the head of a ram, who favours victory.
Chiefs are identified by their command sticks, the "recades". Le Centre - Le Petit Musée de la Récade de Godomey offers the only space dedicated to the symbol of Beninese power. Its collection brings together private donations and contemporary creations, commissioned from national artists invited to revisit the recade.
Restitution of the treasures of Abomey
Throughout its history, Benin has been cited as a forerunner in more ways than one. In the past, for its democratization process; today, for the restitution of its works of art. Benin has recovered 26 works from the royal treasures of Abomey. These sacred works, taken by French colonial troops in 1892 as spoils of war, were returned to their homeland on November 10, 2021. An unprecedented event that concludes long negotiations initiated by the Beninese president in 2016. Descendants of King Behanzin, whose palace was looted by the colonists, attended the welcoming ceremony and the pieces were presented to the public. These symbols of sovereignty are now waiting to be integrated into the museum currently being built in Abomey. This restitution was made possible by a special law passed by the French Parliament, derogating from the principle of inalienability of property held by French public museums. Through this return, the dignity of a people has been rediscovered. Its history too. These pieces, imbued with voodoo, are linked to ancestor worship. Despite the thousands of works from Benin (and other African countries) still being held abroad, President Talon welcomes the agreement signed with President Macron. This marks a turning point for Beninese culture. From now on, it will be able to propose exchanges with a view to organizing international exhibitions. The presence of these jewels raises awareness among the younger generation of the importance of cultural assets. Among these objects are an anthropo-zoomorphic sculpture of King Glélé, in wood and leather; a life-size royal statue of Béhanzin; a Bochio sculpture (Fon, 19th century); and three carved polychrome wooden doors from the royal palace.
Towards contemporary art
The tone is set: Benin is resolutely looking to the future. Places like theInstitut français du Bénin in Cotonou are a must. Exhibitions, meetings and workshops share the space with a series of festivals and theatrical performances. In Ouidah, the Musée de Ouidah - Fondation Zinsou, located behind the basilica, selects its exhibitions from the Zinsou family collection: photography, sculpture, installation and video, as well as drawing, engraving and painting. The stunning diversity of the exhibitions showcases artists from Africa and beyond.
A must-see is Le Centre - Le Petit Musée de la Récade de Godomey, a multi-disciplinary art space run by Beninese artist Dominique Zinkpè. The beating heart of creation, just 15 minutes from the capital. Among the artists welcomed to the small museum, the young Gaël Davo denounces the conflicts in Syria; the sparkling Sènami Donoumassou draws inspiration from her culture and expresses her multiple talents using salvaged objects and multiple media. The Centre Culturel Ouadada has moved to Porto-Novo to offer exhibitions and encounters in a warm atmosphere.
The Vallois Gallery in Paris has had an exceptional relationship with Benin for some ten years. The encounter occurred in 2012 on the occasion of the "Paris-Cotonou-Paris" exhibition. The gallery owner fell under the spell of Benin's art and has given it a new lease of life. The exchanges he organizes between French and Beninese visual artists give rise to a number of collaborations: Stéphane Pencréac'h, Bruce Clarke and Rémy Samuz, Marius Dansou, Dominique Zinkpe, Tchift and Meschac Gaba are just some of the artists who have benefited. The gallery owner's patronage enabled Le Centre - Le Petit Musée de la Récade to come into being. Under the direction of artist Dominique Zinkpè, the Centre's cultural space boasts a vast exhibition area that gives young Beninese artists a chance. A true living space, it is complemented by studio residencies and a cinema.
Private initiatives provide most of the support for Benin's artistic creation. There are some thirty galleries in the country, including twenty in Cotonou. The Ludovic Fadaïro gallery showcases high-quality African art, ranging from the abstract to the traditional. But artists also take the initiative to mount exhibitions, sometimes in their own studios. Charly Djikou, painter and sculptor, invited a photographer and a painter to draw inspiration from his sculptures for a group exhibition on the theme of the pandemic. Some sixty works intended to raise awareness of the health problem, which he hopes to show in a public place, perhaps at the Artisttik Africa cultural center in Cotonou's thirteenth arrondissement. If not, he will be delighted to welcome visitors to his studio. There's no stopping young talent!
In spring 2024, the Venice Biennale welcomed the Benin pavilion for the first time, with artists Ishola Akpo, Romuald Hazoumè, Chloé Quenum and Moufouli Bello evoking human strengths and weaknesses.
Street side
Created in 2013, the Effet Graff urban art festival in Cotonou has attracted artists from across the continent and Europe. It has become the biggest street art event in French-speaking Africa. For ten days, the city's walls are covered with paintings honoring emblematic figures from the continent's history. In 2019, artists from Togo, Senegal and France collaborated on a series of frescoes on the outskirts of the central station, on the theme "Afrique horizon 2050".
Since then, the government has launched an even grander project starting in 2022 on the walls of the Port, called " Marina Boulev'art Gallery ". Numerous artists have created a superb open-air museum. The graffiti tells the story of the country over several kilometers and should eventually become the longest urban art wall in the world. A must-see on boulevard de la Marina!
