Fond Memories of Dak’Art and the Mourning After
For the Lagos-based collector, Eyamba Dafinone, an odyssey to showcase African art at the 15th Dakar Biennale was fraught with challenges and triumphs and ultimately marred by the mysterious theft of her priceless artworks. Okechukwu Uwaezuoke reports
Days of anxious waiting had dissolved into a haze of uncertainty by the time, on December 27, 2024, Eyamba Dafinone finally received the news from Lagos: The packaged items, meant to arrive with her from Dakar on December 17, had reached the city the night before at 10 p.m.—ten days after her return. Little wonder, then, that the memory of those fraught days still haunted her like a persistent spectre, refusing to fade despite Abuja’s tranquil holiday allure. She had come to the federal capital to celebrate Christmas, but the nagging unease that gripped her in Lagos clung like a shadow, an unseen presence lingering at the edge of her consciousness.
Amidst the disquiet in the wake of her arrival, the Lagos-based art collector’s anxiety had sharpened to a blade’s edge. For days, her staff had besieged Murtala Muhammed International Airport with enquiries about the parcels. When news of their arrival finally came, she dispatched her team, but a nagging sense of unease lingered, like a shadow in a hidden recess of her mind. The feedback from her team struck like a cold splash: 19 parcels instead of 20 were found! Her worst fears thus confirmed, she watched the video footage, her mind racing with the implications, and a wave of outrage washing over her. The evidence was unmistakable: the cases had been tampered with, the once-pristine packaging now bearing the scars of meddling hands.
With a deepening sense of foreboding, Mrs Dafinone instructed her team to conduct a meticulous headcount. The suitcases were opened, and the items were carefully tallied. The result was a stark confirmation of her suspicions—23 bronze heads had been shipped, but only 20 remained. It is, therefore, not hard to imagine the scenario that trailed the revelation of the missing pieces: a gaping chasm, a sense of desolation that seemed to suck the air out of the room. The video recordings, meticulously documenting each item, now served as a scathing indictment. The evidence was clear—someone had helped themselves to three priceless bronze heads.
New details emerged as the full extent of the theft began to unravel, and the picture that formed was increasingly disturbing. Besides the three priceless bronze heads, four paintings had also vanished, including two belonging to Gbolahan Ayoola. This revelation only strengthened her resolve: she would leave no stone unturned in her quest to track down the missing pieces and bring the perpetrators to justice.
It all began with her attendance at the milestone event: the 15th edition of the Dakar Biennale, themed “The Wake—L’Éveil.” This prestigious biennial art exhibition was held at the historic Ancien Palais de Justice on Cap Manel, overlooking the ocean. Davsien Gallery and Ndikama Museum, both owned by her, collaborated to feature works of three Nigerian artists: Ebenezer Akinola, Gbolahan Ayoola, and Gerald Chukwuma. Through their art, these visionaries wove unique narratives that explored historical contexts. As participants in the Biennale’s OFF exhibitions, the two galleries presented a profound exploration of Africa’s artistic history.
Apparently, the exhibition of the three Nigerian artists was overseen by Davsien Gallery. Meanwhile, the Ndikama Museum, based in Victoria Island, Lagos, enriched the exhibition by presenting cultural artefacts that highlighted the metamorphosis of art from the ancient Igbo Ukwu period to contemporary expressions. The impact was lasting: comments in the comments book corroborated the exhibition’s profound effect on its attendees.
Originally slated for May 16 to June 16, 2024, the biennale was postponed to new dates—November 7 to December 7—due to the tumultuous political climate and a shift in cultural leadership.
She had left Lagos for Dakar on November 6, aboard an Air Peace flight, just a day before the Biennale’s official opening. But the 525 kilogrammes of artworks she was supposed to bring along didn’t make the trip. Despite repeated attempts, the airline turned down her requests to transport the exhibits. So, she had to wait for her team to arrive with the artworks and anxiously awaited their arrival. But the news she received was disheartening. Her team had been barred from travelling due to issues with their ECOWAS travel documents. The airport staff informed them that biometric cards were required, but attempts to obtain them had failed.
Eventually, after the works were brought to the Senegalese capital, they were set up at the former Chancellery of the Nigerian Embassy in Dakar. This historic building on Avenue Cheikh Anta Diop was transformed into a vibrant exhibition space. The old consulate required extensive renovations, undertaken at the organisers’ own expense. On November 15, 2024, the exhibition “The Metamorphosis of African Art” debuted to a distinguished audience of seven ambassadors and several other dignitaries. Elegance and sophistication filled the evening air. The guest list was a veritable who’s who of the diplomatic corps, with esteemed attendees from various fields. Thus, two cocktail parties, hosted by Ndikama and Davsien on November 15 and 30, respectively, brought together art enthusiasts, diplomats, and other influential figures, fostering a spirit of cultural exchange and appreciation.
The rest of the Biennale for Dafinone was a whirlwind of activity. She met prominent collectors and the Biennale organisers, who had previously hosted the Ndary Lô exhibition. On the Sunday that followed, a milestone event unfolded: the vernissage of renowned architect Pierre Atepa Goudabi, marking 50 years of his architectural practice.
Back to the exhibition, it turned out to be a treasure trove of historical richness, showcasing works that spanned an impressive 1,200 years, from the 9th century to 2024. This groundbreaking display of African art was a resounding success, unveiling a fresh perspective on the fusion of tradition and modernity. According to Eyamba Dafinone, the exhibition was “an introduction to a presentation or an exhibition highlighting an art collection on the theme of Metamorphosis.”To complement the exhibition, a panel discussion brought together esteemed panellists, including renowned Senegalese journalist Adama Gaye, the Chargé d’Affaires of the Nigerian Embassy in Dakar, Nigerian artist Ebenezer Akinnola, Senegalese curator Idrissa Diallo, and Eyamba Dafinone herself. This discussion added another layer of depth to the exhibition, fostering a rich exchange of ideas and perspectives.
Meanwhile, concerted efforts are underway to recover the missing artworks, which were carefully packed and loaded onto a plane. To facilitate their return, a report was filed with the authorities, and the Minister of Culture was informed. As part of these ongoing efforts, a subsequent trip to Dakar was made on January 25 to meet with the Director of Culture and pursue a planned collaboration with local artists, which also provided an opportunity to follow up on the incident and expedite the recovery process.
