The British Museum founded in 1753, houses one of the largest collections of historic, archaic and contemporary goods in the world - over seven million to be precise. The African Art collection encompasses over 200,000 objects from everyday bric-a-brac objects to works of art and expensive possessions. When the British Museum was founded things were collected from around the world and 'curiosities' were bought back from exotic cultures. The collections displayed at the British Museum allow us to understand other countries, tribes, religions, beliefs and native cultures.
The things we collect are invaluable because they remind us of people or come from people, therefore when viewing this collection I was reminded about the context and information that accompanied each display and whether my perception was altered.
TASK:
From the collection what is different about the way in which it is presented. What contributing factors alter its meaning? Are there any relevant topics that are not addressed in the displays? Can the way in which an object be presented alter its meaning?
Room 24 (Living and Dying)
Before approaching the Africa collections we walked through the 'Living and Dying' room where immediately my eyes focused on the long rectangular tables in the centre of the room.
The displays in Room 24 explore the different approaches to life, death, birth, illness, and danger. The exhibition shows how different cultures deal with all these problems and how they attempt to maintain a healthy life regardless. The displays show how relationships are a vital part of peoples' lives, be it the love for their family, friends, the animal world or the spiritual world.
The centrepiece of which I was drawn to is that of 'Cradle to Grave - Pharmacopoeia' by textile artist Susie Freeman, Dr Liz Lee and David Critchley. The two textile pieces created by the trio are each 1.5m wide and 13,000m long. They are hand knitted out of a pale, grey, nylon filament with individual pockets encapsulating a variety of drugs and lozenges - small, round, oval, pinks, greens, mixed colours of red and yellow, blue and white, wrapped in foil or unwrapped etc. Each pieces contains over 14,000 drugs - supposedly the average amount of drugs prescribed to every person in Britain. It does not however include vitamins, self prescribed drugs or over the counter remedies. One piece of the fabric showcases the lifetime supply of medicine for one man and the other showcases the average supply for one woman. The display cabinet also contains medical and personal objects that relate to the drugs prescribed to the individuals (e.g. birth certificates, photographs, inhalers, syringes, plasters, baby teeth etc). Each fabric starts at birth where immunisations are given, however they continue on on different paths.
The woman's cloth shows her life span from baby to present day. She is seen to develop chicken pox, so there are tablets for antibiotics and painkillers, periods (pain relief), travelling abroad (vaccinations), tablets for pregnancy, breast feeding, second pregnancy, post natal depression, obesity, breast cancer (age 62), arthritis, hip replacement etc. It is fascinating to see her life laid out in the form of medicine rather than in photographs or in a book. I feel it is a very successful display as you can truly visualise her life and her ailments. The woman's life is still ongoing at 82 and the fabric is rolled up at one end waiting for more pills to be added to it.
The man's cloth is slightly different as he suffered with asthma and hay fever from a young age and so there is quite a lot of medication visible as a child. He had a healthy life in comparison to the woman up until he turned 50 where there are evidence of cigarettes and red wine to show he was treated for a high blood pressure. Sadly he had a heart attack and at the age of 75 died of a stroke, leaving a white death certificate which also informed us that his daughter was with him when he died. I think the pieces are very moving as they showcase our relationship with medical treatments and our dependency on drugs.It was interesting to see that in the last ten years of the man's life he took the same amount of pills from 0-66. The exhibit shocks you at first because the amount of pills look extreme when all laid out, it appears almost like a pick a mix, with brightly coloured pills of different shapes and sizes. The accompanying objects also show the life they have had regardless of their ailments and how although medicine may have controlled a huge part of their lives they have still lived full and busy lives.
Room 25 (Africa)
In 1870 European museums began to collect and display African Artefacts. These items were collected during colonial wars and when brought to Europe were displayed in ways that emphasized their exotic or primitive cultures. African art was showcased as being bold, vibrant and exotic. Museums suggested that African Art was most notably decorative; tribal prints and patterns, brightly coloured cloth, abstract drawings, large installations, unusual musical instruments etc. The ways in which African Art were presented caused the viewer to gain a biased image of Africa and was extremely subjective. The objects would probably be placed in the centre of the museum for people to gawp at and would be considered as otherworldly and different. For many people visiting a museum is the closest they may get to understanding a country or culture and so the way in which museums present objects is very important and influential.
Nowadays, galleries and museums have become to realise the huge impact presentation has on the interpretation and meaning of objects. The British Museum have thought about their displays and
sought to change this stereotype by stripping bare objects and placing them just like any other object alongside both traditional and contemporary work. Each object is isolated from any links to their country and therefore the viewer is forced to interpret the work as it is without influence of contributing factors. The British Museum uses its objects to provide the British public with information about other cultures, traditions and countries. The curators therefore must consider the layout of each object as the way they present each display has a profound effect on meaning. I feel that the African Art is laid out perfectly – it is informative; information is precise and positioned next to the object, it is educational; providing the viewer with something new that they can learn and exciting; there are objects and pictures that a large amount of us have never experienced or seen.
The pieces of work I have chosen in the African collection that are well displayed are:
1.Man’s cloth- El Anatsui Ghana 1998-2001
El Anatsui is a contemporary African sculptor who uses the theme of indigenous African culture in his work.
'Man's Cloth' is made from discarded foil bottle-neck wrappers; when viewed up close you can see the brand names and original wrapper colours. Anatsui used recycled metal foil wrappers stitched together with gold wire to replicate the traditional Kente cloth of Ghana – a source of pride and a receptacle of cultural memories. Each wrapper is cut and woven to create the traditional narrow strips reminiscent of the Ghanaian silk cloth. His work is ultimately optimistic, indicating the energy, enthusiasm and strength of tradition. By using contemporary and modern materials he showcases the diverse history of African Art and shows its transmission into present day. By placing his work in the centre of the room he highlights the dying away of inherited traditions and shows the need for its survival. The British Museum have acknowledged his messages and displayed it in a way of utmost importance. Anatsui covers the themes of memory and loss and also echoes environmental issues due to the recycled detritus that he has used to construct his hanging. He shows the result of our manufactured consumerist world and the erosion of cultural values. His piece is placed in the centre of the room and is thus the first piece you see when you walk in, implying importance and the need to be seen. It draws you in immediately suggesting times have changed as normally this work of art would not be displayed in such a primary position. Anatsui successfully confronts traditions and in his detailed work forces us to reconsider what makes up the very fabric of our lives. His work is beautiful; extremely intricate and delicate looking which I feel adds to its glittering charm.
2. Benin - Cast Brass plaques - Nigeria
These cast brass plaques were made in Nigeria in the 16th century and stand as historical documents aswell as African textiles. They showcase contemporary style alongside historic. With over 900 plaques in museums around Europe they stand as crucial artefacts in history. The plaques are positioned in a grid equidistant from each other - perhaps showing equality and how all of the plaques are of the same importance. They are thought to have been made in matching pairs and then positioned onto pillars in the Oba's palace in Benin city. By placing the plaques on the centre of a large wall in the British Museum they seem to dominate the room and stand as artwork rather than just symbols of African heritage. If the plaques were to be placed in a glass box I feel they would act as a representative of culture whereas when placed on a wall they allow you to learn about African culture in relation to other cultures.
3. Tree of Life
The Tree of Life was made by four Mozambican artists: Cristovao Canhavato (Kester), Hilario Nhatugueja, Fiel dos Santos and Adelino Serafim Maté. It is a product of the Transforming Arms into Tools (TAE) project and is made from decommissioned weapons. Millions of guns and weapons were sent into Mozambique during the Civil War (1976-1992) however, none of them have been recovered. The weapons have remained hidden or buried out of sight thus posing a threat to the inhabitants of Mozambique. The project aims to eliminate the threat of these weapons by hopefully encouraging the people of Mozambique to hand the weapons over in exchange for bicycles, sewing machines, ploughs etc. There was one village however, who handed over all their weaponry in exchange for a tractor, portraying a strong message to others and suggesting that they too should come out of the arms amnesty.
Once the weapons have been handed over, they are then passed on to the artists who in turn chop up the AK-47 rifles, pistols and rocket-propelle grenade launchers and turn them into sculptures. Although unconventional, the TAE project has successfully dismantled more than 600,000 weapons. The IRA are also known to bury their guns, storing them until they are needed, however, this acts as a potential threat and so the TAE have established a plan to swap these weapons for farming tools.
When I first saw the 10ft sculpture standing in the middle of the room I did not immediately realise what it was made of. From afar it appears just a tree with animals comically placed around its base, however, nearing the sculpture I began to notice the guns and weapons that it was in fact made of. It showcases a very strong message of hope and symbolises the dynamic creativity of Africa. I also feel its illustrates a cultural reference to those unaware of the struggle for independance and sufferings that Mozambique endured under the 16 years of war. I also feel that with the rise in gun crime in the UK in the last decade it resonates with the public as a current issue. Bishop Dom Dinis Sengulane, founder of Mozambique's Transforming Arms into Tools scheme said, "We would like you to adapt this to your own reality. People involved in the armament industry, even in making toy guns, should realise that guns are instruments for destroying human life." I feel he makes a valid statement and by having this piece of artwork in such an important museum and as the main focus in the room, it portrays a very powerful message. It acts as a memorial for those that lost their life or were injured and keeps their memory alive. The tree of life also showcase how we can use the past to inform the future and bring about an 'extraordinary message'.
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