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US couple donates huge art collection to Paris

A Texan couple who discovered their love for art during a trip to Paris in the 1970s are to donate the multi-million dollar collection they have amassed since to the French capital.

Published: 23 October 2016 14:03 CEST

US couple donates huge art collection to Paris

Marlene (centre) and Spencer (right) are donating their collection ‘for the benefit of art lovers’. Photo: Thomas Samson / AFP

Businessman Spencer Hays and his wife Marlene were in the city Saturday to formalise the first instalment of their donation — 187 works including pieces by Edgar Degas and Amedeo Modigliani worth around 173 million euros ($188 million) — to the Musee d'Orsay.

“When Marlene and I grew up in a little town in Gainesville, Texas, even visiting France was far beyond our great expectations. But in 1971 we made our first trip to Paris, and our love affair with this wonderful country began,”

Hays told a crowd which included President Francois Hollande at the Elysee Palace.

“After our death, our collection will be gifted to the French people for the benefit of art lovers around the world. But, even more important to us, this collection is our legacy,” he added.

The couple, who are both aged 80 and have been married for 60 years, have a collection of some 600 works from the late 19th and early 20th centuries worth 350 million euros — and it continues to grow.

“The people who know you know your collection gets bigger around July 14 and December 7, because those are your birthdays. And this year, once again, Marlene, you gave Spencer a Matisse, and you, Spencer, gave Marlene a Modigliani… It wasn't easy to live up to that!” Hollande said.

The President added that the couple had given France not only their collection but also “access to culture for everyone”.

“Your act, your donation, honours the French Republic,” he said during a ceremony in which the couple received the distinction of commander of the Legion d'Honneur, one of the country's highest honours.

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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