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Grandson auctions Joan Miró paintings to help refugees

Some 28 artworks by the Spanish painter Joan Miró will be auctioned in London on Thursday, with the profits going towards helping refugees.

Grandson auctions Joan Miró paintings to help refugees
Paysanne en colère is one of the works on sale on May 19th. Photo: Christie’s

The Miró sale at Christie's auction house in London is aiming to raise €50,000 ($56,600) for the Red Cross humanitarian organisation.

The Barcelona painter's grandson told AFP that he would donate the proceeds of the sale because that is what Miró would have wanted.

“I consider myself as the torch-bearer for his wishes and try to do what he would do if he was still alive,” Joan Punyet Miró said.   

“Miró was a man who endured many hardships throughout his life. He went hungry, and lived in exile through the Spanish Civil War.”   

He was also conscious of the Spanish refugees living in camps across the border in southern France during the 1936-1939 conflict, and of the 2,000-odd of their number who sailed from France to Chile on board the SS Winnipeg.

Miró, who had Republican sympathies in the civil war divide, was in France when the conflict broke out, and decided to stay in Paris.

His wife and daughter joined him and lived in France until 1940, when the invasion of Nazi Germany saw him flee back to Spain.   


The Catalan artist with his grandson. Family photo: Christie's.

“He always wanted to help the most disadvantaged, the refugees and those in exile, and would be aware that what is happening today in Syria could happen tomorrow in Spain,” said Punyet.

Since the Syria conflict erupted in 2011, more than 4.8 million refugees have fled the country.

Miró, who died in 1983 aged 90, had personal reasons to be grateful for the work of the Red Cross.

A doctor from the international organisation saved the leg of his only child, Punyet's then 34-year-old mother, after a nasty car accident in 1965.

She recovered after spending a year in bed.  

“My grandfather made a tapestry for the Red Cross in gratitude, because they had saved his daughter, his only child,” said Punyet.  

Barcelona's Mayoral Galeria d'Art, which is working on the fundraising effort, has exhibited the works in several art spaces.

By Alfons Luna / AFP

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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 told 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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