“Everything Precious Is Fragile” is an exhibition aimed at exploring the extensive history of Benin, delving into themes such as the slave trade, the figure of the Amazon, and Voodoo religion.

Titled “Everything Precious Is Fragile,” the exhibition will retrace the rich history of Benin by exploring themes such as the slave trade, the figure of the Amazon, spirituality, and Voodoo religion.

It will also delve into contemporary reality by discussing Gèlèdé thought, centered on the concept of rematriation: a feminist interpretation of the idea of “restitution,” not only related to objects but also referring to a return to the philosophy and ideals of this land prior to the colonial era.

Azu NWAGBOGU

Curator of the Benin Pavilion

“Everything Precious is Fragile” reveals a profound exploration of the Gèlèdé traditions of the Yoruba people, intertwined with the latent shadows of contemporary global events and the widespread issue of epistemic injustice. This curatorial proposal responds to the delicate global scenario, marked not only by ecological challenges, conflicts, and growing social and economic inequalities but also by the systemic marginalization of diverse and indigenous knowledge systems. In collaboration with the traditional rulers of Benin, the cultural custodians of knowledge, art, and the enigmatic, the curatorial concept of the pavilion acknowledges the epistemic, historical, and current injustices that indigenous knowledge systems face, and the denial of feminist voices. This proposal embraces fragility with great respect, recognizing the precarious existence of cultures, wisdoms, and forms of knowledge in the face of abandonment and rejection by the system. In this updated narrative, Gèlèdé philosophy reveals ecological, socio-political, and cultural dimensions, simultaneously elevating its vital role in education and lifestyle. The exhibition explicitly celebrates the revival of indigenous wisdom, highlighting the vital role of historically marginalized voices, particularly women, in the production of knowledge. Artists Hazoumè, Quenum, Akpo, and Bello have been selected not only for their individual artistic skill but also for the unique way their works and methodologies complement each other, transforming the exhibition into an essential personal presentation – Everything Precious Is Fragile – of four artists.

These artists embody the ethos of Benin, supporting regeneration and [re]matriation – the return to the welcoming embrace of the mother – while challenging the hierarchies that have silenced diverse voices. The exhibition, held at the Arsenale in Venice, presents ideas in Europe according to the terms set by the artists rather than how they have been considered in the past following conquest. The exhibition draws extensively from Benin's historical heritage and the recent restitution of cultural artifacts, intentionally integrating narratives that address the violence of dispossession and erasure inherent in the histories of these objects.

As we navigate the complexities of our contemporary world, marked by systemic imbalances, the exhibition envisions a welcoming future capable of actively challenging prevailing perceptions of fragility and strength within the framework of epistemic justice.

Within the Benin pavilion, a “library of defiance” explores the immense contribution of women throughout history, addressing the most urgent issues of our time, such as biodiversity loss, identity, ecology, science, indigenous knowledge, Black histories, representation, as well as urgent questions about eternal truths and enduring values. The exhibition thus becomes a space for critical reflection, where the four artists sing the same melody but with complementary and harmonized tones.

CURATORIAL CONCEPT

At the beginning of our curatorial journey, the organizing committee shared four themes with us: spirituality, Voodoo, the figure of the Amazon, and the slave trade. Our approach was to find a common thread that would unite these themes so that the artists could develop strong artistic proposals. With the support of research lasting several weeks and conducted by a skilled team of scholars, we defined our guiding principle: African feminism, and specifically Beninese feminism.

Starting from the concept of Beninese spirituality, we considered the Gèlèdé masks, symbols of the spiritual power of women in our traditional society. Then came Voodoo, the main religion of our ancestors; we considered how its expression claims the central role of the maternal figure. In early, innovative Voodoo, women are seen as goddesses, priestesses, devotees.

The figure of the Amazon refers to the political power of women: the myth of Abomey was created by a queen, Tassi Hangbè.

The legendary army on the battlefields defies all stereotypes that assign women secondary roles. To conclude our research, we examined the phenomenon of the slave trade and noted the presence of powerful female figures who resisted injustice and fought to protect others. What we call “African feminism” identifies the relevant – though vulnerable – role that women have played in our societies from ancient times to the present day, in the everyday reality of the contemporary world. African feminism constitutes a past that artists are duty-bound to recover, a present to elevate, and a future they wish to help create. Regarding the past, they can draw inspiration from Gèlèdé philosophy as a narrative of the origins of our feminism. For the present, they can refer to the battles, struggles, and resistances that our daughters, mothers, and women are advancing today in our cities, homes, and businesses. As for the future, they might surprise us, as the realm of possibilities is so vast that, at the end of the journey, feminism will no longer be relegated to a category but to what it should be: a universal humanism.