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Art prize scrapped after Lacoste vetoes Palestinian winner

The organisers of a €25,000 ($32,000) art prize said on Wednesday they have cancelled this year's competition after sponsors Lacoste objected to an entry by a Palestinian photographer.

Published: 22 December 2011 14:20 CET

Jerusalem-born artist Larissa Sansour said she was told the luxury clothing brand deemed her photo series “too pro-Palestinian”.

The Elysee Museum in Lausanne, Switzerland, had offered €25,000 to the winner of the Lacoste Elysee Prize for a work with the theme of “joie de vivre”.

A jury was set to award the cash to one of eight candidates in January but the museum said this year’s award had been suspended.

“The private partner’s wish to exclude Larissa Sansour, one of the competition candidates, is behind the Elysee Museum’s decision,” the museum said in a statement.

Conceived in the wake of the Palestinian bid for UN recognition, Sansour said her photo series “Nation Estate” “envisions a Palestinian state rising from the ashes of the peace process.”

The artist said she was told by the museum last week that her nomination had been revoked by Lacoste who thought her project, although not directly anti-Israel, was “too pro-Palestinian” for the company to support.

“As a politically involved artist I am no stranger to opposition, but never before have I been censored by the very same people who nominated me in the first place,” said Sansour in a statement.

“Lacoste’s prejudice and censorship puts a major dent in the idea of corporate involvement in the arts. It is deeply worrying.”

The Elysee Museum said its decision reiterated its commitment the “fundamental value” of freedom of expression and that it had offered to exhibit Sansour’s work outside of the competition, which was established in 2010.

Lacoste was not immediately available for comment.

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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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