Nigeria’s Museum Agrees with Royal Ruler on Custody of Benin Bronzes 

Examples of Benin bronzes which, together with collections such as the Parthenon sculptures, are the subject of talks of their return to countries of origin, are displayed at the British Museum in London, Britain, January 25, 2023. (Reuters) 
Examples of Benin bronzes which, together with collections such as the Parthenon sculptures, are the subject of talks of their return to countries of origin, are displayed at the British Museum in London, Britain, January 25, 2023. (Reuters) 
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Nigeria’s Museum Agrees with Royal Ruler on Custody of Benin Bronzes 

Examples of Benin bronzes which, together with collections such as the Parthenon sculptures, are the subject of talks of their return to countries of origin, are displayed at the British Museum in London, Britain, January 25, 2023. (Reuters) 
Examples of Benin bronzes which, together with collections such as the Parthenon sculptures, are the subject of talks of their return to countries of origin, are displayed at the British Museum in London, Britain, January 25, 2023. (Reuters) 

Nigeria's national museum commission will be responsible for retrieving and keeping priceless Benin Bronzes, taking on the task with the assent of the royal ruler appointed sole owner and custodian of the objects nearly two years ago, its head said.

Nigeria is on a quest to recover thousands of intricate bronze sculptures and castings that were looted by British soldiers during a raid on the then-separate Kingdom of Benin, located in what is now southwestern Nigeria, in 1897.

The stolen bronzes are among Africa's finest and most significant heritage objects and are mostly in Europe.

In March 2023, then-president Muhammadu Buhari signed a decree saying the Oba, or king, of the historic kingdom of Benin rightfully owned all returned Benin Bronzes and was responsible for managing all places where the artifacts are kept.

Olugbile Holloway, director general of the National Commission for Museums and Monuments (NCMM), told Reuters that the Oba did not have the infrastructure to care for the bronzes.

"So, the Oba has given the NCMM the blessing to display, conserve and to pursue reparation of these objects. So, there is no more ambiguity," said Holloway.

In 2023 the NCMM had said the University of Cambridge's Museum of Archaeology and Anthropology put on hold plans to return more than 100 artifacts after the government decree.

Holloway, however, said it was now a matter of time before an agreement would be reached with Cambridge University for the artifacts' return.

"The return of these objects is not just about displaying them in the museum or taking care of them. It is about the dignity of our people and undoing the injustice of 1897," he said.



Diriyah Art Futures Announces 'Maknana: An Archaeology of New Media Art in the Arab World' Exhibition

Maknana: An Archaeology of New Media Art in the Arab World will run from April 21 to July 19, at DAF in Diriyah, Riyadh
Maknana: An Archaeology of New Media Art in the Arab World will run from April 21 to July 19, at DAF in Diriyah, Riyadh
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Diriyah Art Futures Announces 'Maknana: An Archaeology of New Media Art in the Arab World' Exhibition

Maknana: An Archaeology of New Media Art in the Arab World will run from April 21 to July 19, at DAF in Diriyah, Riyadh
Maknana: An Archaeology of New Media Art in the Arab World will run from April 21 to July 19, at DAF in Diriyah, Riyadh

Diriyah Art Futures (DAF) announced on Sunday that its second major exhibition titled Maknana: An Archaeology of New Media Art in the Arab World will run from April 21 to July 19, at DAF in Diriyah, Riyadh.

Bringing together works by more than 40 artists from the MENA region, Maknana features pioneering voices from across the region who have embraced and redefined technology as a medium for creative expression.

Spanning decades and disciplines, from early video art and experimental film to generative systems and expanded media, Maknana offers a rare survey of how Arab artists have engaged with and reimagined the digital landscape on their own terms.

According to a DAF statement, the Arabic term ‘Maknana’, translated as automation, inspires the exhibition’s central inquiry: how Arab artists have navigated, repurposed, and challenged technologies to shape their own creative vocabularies.
The exhibition is structured across four thematic sections: Automation, Autonomy, Ripples, and Glitch, which trace recurring artistic concerns and gestures across different generations, geographies, and technological paradigms.
In tandem with the exhibition, Diriyah Art Futures will present a public program of talks, performances, screenings, and workshops, expanding on the themes of Maknana and offering visitors direct engagement with artists and thought leaders in the field of new media art.