When Eyamba Dafinone finally received the news on December 27, 2024, that her packages had arrived in Lagos, she had already been waiting for ten days since her return from Dakar. The packages, which were supposed to arrive on December 17, had only arrived the night before at 10 pm.
The days of anxious waiting had taken a toll on Eyamba Dafinone, and the memory of that time still lingered. Even as she celebrated Christmas in Abuja, she couldn’t shake off the unease that had gripped her in Lagos.
Her staff had bombarded the airport with enquiries, and when the packages finally arrived, she sent her team to inspect them. But when the news came that only 19 out of 20 packages had arrived, she knew something was amiss.
The inspection of the packages confirmed her worst fears: three bronze heads were missing, and the packages showed signs of tampering. Eyamba Dafinone was outraged and determined to uncover the truth and bring the perpetrators to justice.
As the investigation unfolded, it became clear that not only the bronze heads but also four paintings, including two by Gbolahan Ayoola, had vanished. This only strengthened her resolve to find the missing pieces and bring the perpetrators to justice.
Eyamba Dafinone’s story began at the 15th edition of the Dakar Biennale, a premier art exhibition themed “The Wake—L’Éveil,” held at the historic Ancien Palais de Justice in Dakar, Senegal. Her galleries, Davsien Gallery and Ndikama Museum, showcased the works of three Nigerian artists: Ebenezer Akinola, Gbolahan Ayoola, and Gerald Chukwuma. Their art explored historical contexts, weaving unique narratives that delved into Africa’s rich artistic heritage.
The exhibition was part of the Biennale’s OFF exhibitions, presenting a profound exploration of Africa’s artistic history. Davsien Gallery oversaw the exhibition, while the Ndikama Museum enriched it with cultural artefacts highlighting the metamorphosis of art from ancient Igbo Ukwu to contemporary expressions.
As for the biennale, it was initially scheduled for May 16 to June 16, 2024, but was postponed to November 7 to December 7 due to political tensions and a shift in cultural leadership.
The Lagos-based art collector travelled to Dakar on November 6, 2024, a day before the Dakar Biennale’s official opening, but her 525 kilogrammes of artworks didn’t make the trip due to airline restrictions. She had to wait anxiously for her team to arrive with the artworks, but they faced issues with their ECOWAS travel documents and were barred from travelling.
After overcoming these hurdles, the artworks were finally set up at the former Chancellery of the Nigerian Embassy in Dakar, a historic building transformed into a vibrant exhibition space. The exhibition, “The Metamorphosis of African Art,” debuted on November 15, 2024, to a distinguished audience, including seven ambassadors and other dignitaries.
The event was a huge success, with two cocktail parties hosted by Ndikama and Davsien, bringing together art enthusiasts, diplomats, and influential figures to foster cultural exchange and appreciation.
Mrs Dafinone’s experience at the Dakar Biennale was a dynamic and engaging sequence of 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 milestone event took place—the vernissage of esteemed architect Pierre Atepa Goudabi, celebrating 50 years of his remarkable architectural career.
The exhibition itself was a treasure trove of historical richness, showcasing a vast array of African art that spanned an impressive 1,200 years, from the 9th century to 2024. This groundbreaking display was a resounding success, offering a fresh perspective on the fusion of tradition and modernity. As Mrs. Dafinone described it, the exhibition was an introduction to a thought-provoking art collection centred around the theme of Metamorphosis.
To further enrich the exhibition, a panel discussion was held, featuring esteemed participants such as renowned Senegalese journalist Adama Gaye, Nigerian artist Ebenezer Akinnola, and Eyamba Dafinone herself. This discussion added depth and complexity to the exhibition, fostering a rich exchange of ideas and perspectives.
Recovery efforts for the missing artworks are ongoing, with a formal report submitted to the authorities and the Minister of Culture notified. A follow-up visit to Dakar on January 25 facilitated meetings with the Director of Culture and local artists, providing an opportunity to pursue a collaborative project while also advancing the investigation and recovery process.
