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France rejects Italian plea to borrow Mona Lisa

France has turned down a request from the Italian city of Florence to borrow the Louvre's famous Mona Lisa painting, by Leonardo da Vinci. Authorities in Italy wanted to bring the artwork back to the country in which it was painted, for an exhibition.

France rejects Italian plea to borrow Mona Lisa
The painting would have been exhibited in celebration of the centenary of the dramatic recovery of the masterpiece following its theft in 1911. Photo: Wikicommons

For over 200 years, France has jealously guarded Leonardo Da Vinci’s Mona Lisa in the Louvre museum – and it doesn’t look like it will be returning to Italy any time soon.

Florence has lost its battle to bring the masterpiece – known as the “Giaconde” in French – back to its native Italy for an exhibition, Italian newspaper La Stampa reported on Tuesday.

The painting would have been exhibited in the city in celebration of the centenary of the dramatic recovery of the masterpiece following its theft in 1911. The proposal to return the painting had been supported by around 150,000 signatures.

In response to the request from Silvano Vinceti, President of the National Committee for the Appreciation of Cultural and Environmental Property, Vincent Berjot, France’s Director General of Heritage said that lending the work would present “many technical difficulties”.

Moreover, he added, “this painting is indissolubly linked to the image and international reputation of the Louvre Museum, which each year draws over eight million visitors from France and the whole world, who would never be able to accept the absence of this work.”

Acclaimed as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world", the Mona Lisa is estimated to have been painted between 1503 and 1506.

Believed to be a portrait of Lisa Gheradini, the wife of Francesco del Giocondo (from whom it takes its name), it was acquired by King Francis I of France in the 16th century and has remained the property of France ever since.

It has been on display at the Louvre museum in Paris since 1797 – but it’s been a battle to keep it there.

The painting was stolen from the museum on August 21st 1911. Avant-garde French poet Guillaume Apollinaire came under suspicion, and was even arrested in connection with the theft. He tried to implicate his friend, fellow artist Pablo Picasso, but both were later exonerated.

It was not until two years later that the real culprit – a museum employee and Italian citizen called Vincenzo Peruggia – was tracked down. According to reports at the time, Peruggia believed that the painting should be displayed in an Italian museum.

He was finally caught in 1913 when attempting to sell the Mona Lisa to directors of the Uffizi Gallery in Florence. The masterpiece was returned to France later that year and Peruggia was jailed for six months.

The Louvre declined to comment when contacted by The Local on Tuesday morning. 

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old toldĀ AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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