By Cally Ozolua
Following her return from the Dakar Biennale, Eyamba Dafinone’s excitement quickly turned to frustration as she waited for her packaged items to arrive. When they finally did, ten days after her return, her team’s inspection revealed a disturbing discrepancy: one parcel was missing, and the remaining packages showed signs of tampering.
A thorough inventory revealed that three bronze sculptures had vanished, leaving the Lagos-based art collector determined to uncover the truth behind the theft. She was expecting a shipment of 20 packages, but when they arrived, she was dismayed to discover that only 19 had shown up. The missing package was particularly concerning, as it contained valuable paintings.
Despite her team’s efforts, there is still no trace of the missing package. Further investigation revealed that the thieves had also targeted the suitcases, which had been opened and rummaged through. To her horror, she discovered that three bronze heads had been stolen—and not just any heads, but the three oldest and most valuable ones. It became clear that the theft was not a random act but a carefully planned and executed crime. The fact that the thieves had specifically targeted the cases containing the bronze heads suggested that they had inside information or assistance. Also missing were four paintings – two of which were by Gbolahan Ayoola, one by the female artist Morohunmbo, and one by Senegalese artist Camara Gueye.
She had just returned from the 15th edition of the Dakar Biennale, themed “The Wake—L’Éveil,” whose main events were held at the historic Ancien Palais de Justice in Dakar. Initially scheduled for May 16 to June 16, 2024, the biennale was postponed to November 7 to December 7 due to unforeseen circumstances. Among the biennial art event’s many OFF exhibitions was one that showcased the works of three Nigerian artists—Ebenezer Akinola, Gbolahan Ayoola, and Gerald Chukwuma—courtesy of Davsien Gallery and Ndikama Museum, both owned by Mrs Dafinone. Their art explored historical contexts, weaving unique narratives that delved into Africa’s rich artistic heritage. The exhibition’s impact was profound, with attendees praising its thought-provoking display.
Talking about that OFF exhibition, it was titled “The Metamorphosis of African Art” and debuted on November 15, 2024, at the former Chancellery of the Nigerian Embassy in Dakar, which transformed into a vibrant exhibition space. The event attracted dignitaries and art enthusiasts, fostering cultural exchange and appreciation. Two cocktail parties hosted by Ndikama and Davsien further solidified the spirit of cultural dialogue. However, the journey to this milestone was not without its challenges. The artworks, weighing 525 kilogrammes, were initially barred from transportation due to airline restrictions. Eventually, the team overcame these hurdles, and the exhibition came to life, showcasing the rich cultural heritage of Africa.
Eyamba Dafinone’s experience at the Dakar Biennale was a flurry of exciting events. She had the opportunity to connect with influential collectors and the Biennale’s organisers, who had previously curated the Ndary Lô exhibition. The following Sunday, a landmark event took place: the vernissage of esteemed architect Pierre Atepa Goudabi, celebrating 50 years of his architectural practice.
The exhibition itself proved to be a treasure trove of historical significance, showcasing artworks spanning 1,200 years, from the 9th century to 2024. This groundbreaking display of African art achieved tremendous success, offering a fresh perspective on the blending of traditional and modern elements. As Eyamba Dafinone described it, the exhibition served as “an introduction to a presentation or an exhibition highlighting an art collection on the theme of Metamorphosis.”
To further enrich the exhibition, a panel discussion was organised, featuring distinguished participants such as 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 depth to the exhibition, facilitating a rich exchange of ideas and perspectives.
Meanwhile, efforts to recover the missing artworks are in full swing. After carefully packing and loading them onto a plane, they vanished, prompting a thorough investigation. To facilitate their return, a report was filed with the authorities, and the Minister of Culture was notified. A follow-up trip to Dakar on January 25 aimed to expedite the recovery process, with meetings scheduled with the Director of Culture and local artists to discuss a potential collaboration.
