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TextMuseo Internacional de Arte Contemporáneo de Guinea EcuatorialNeocolonial Politics in the MuseumMuseo Internacional de Arte Contemporáneo de Guinea Ecuatorial / [fotografía, Rosa Martínez de Lahidalga; prólogo por Hilario Hernández Marqués]
“The International Museum of Contemporary Art of Equatorial Guinea, with content of exceptional category, must serve as a ferment for new concerns and approaches on an aesthetic and human level. It also constitutes the first high-level contact that Spain establishes permanently with the African continent.” (7)
Hilario Hernández Marqués
Secretario General Técnico del Ministerio de Cultura de España
The Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) is emblematic of new articulations of neocolonial power, particularly through the deceptive language of institutional collaboration. A critical examination reveals how the institution perpetuates neocolonial dynamics under the guise of cultural exchange and development.
The Spanish Ministry of Culture’s catalog release highlights the museum's role in fostering new aesthetic and human concerns, describing it as "the first high-level contact that Spain establishes permanently with the African continent." This framing suggests a unilateral initiative, where Spain positions itself as the primary agent of cultural influence, reinforcing a hierarchical relationship reminiscent of colonial times. The museum's establishment is portrayed as a benevolent act of cultural enrichment, ignoring the historical context of colonial exploitation and the complex power dynamics at play. Hilario Hernández Marqués, Secretario General Técnico del Ministerio de Cultura de España, underscores the significance of the museum as a high-level artistic contact with Africa. This statement emphasizes Spain’s self-assumed role as a cultural benefactor, subtly insinuating that Africa’s cultural value is validated through Spanish recognition and support. The narrative reflects a continuation of colonial attitudes, where the former colonizer claims a central role in defining and legitimizing African cultural expressions.
The museum's permanent exhibit features an "exceptional section of drawing and graphic work" from renowned Spanish artists like Picasso, Millares, Saura, and Tapies, among others. The inclusion of these prominent names suggests a cultural hierarchy, positioning Western art as the benchmark for quality and significance. The catalog also notes contributions from Ibero-American artists, further emphasizing the Western-centric curation of the collection. While these works are undoubtedly valuable, their prominence within the museum space can overshadow and marginalize local African artists, perpetuating a narrative that places Western art at the forefront of cultural discourse.
The museum's representation of African artists is described as notable, with some artists developing their work within Africa and others achieving synthesis while residing in Europe or America. The catalog mentions Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam, highlighting their international recognition. However, the emphasis on their international acclaim and residence outside Africa subtly suggests that African art gains legitimacy primarily through Western validation and exposure.
The museum's concept and execution reflect a neocolonial framework, where cultural exchange is mediated by the former colonizer, reinforcing existing power structures. The language of institutional collaboration masks the underlying dynamics of control and influence, presenting a façade of mutual benefit while maintaining asymmetrical relationships. The MIACGE, rather than serving as a space for genuine cultural dialogue and equitable exchange, risks becoming a site where colonial legacies are reasserted under the pretext of cultural development. -
TextMuseo Internacional de Arte Contemporáneo de Guinea EcuatorialNeocolonial Politics in the Museum
Museum Artists and Brief Dictionary of Current Art - Catalog of the Museo Internacional de Arte Contemporáneo. Guinea Ecuatorial
“The International Museum of Contemporary Art of Equatorial Guinea also has a special significance, to the extent that it constitutes the first high-level artistic contact between Spain and the African continent on a permanent basis”. (7)
Hilario Hernández Marqués
Secretario General Técnico del Ministerio de Cultura de España
The artist catalog and art terminology dictionary provided by the Museo Internacional de Arte Contemporáneo de Guinea Ecuatorial (MIACGE) highlight significant issues related to representation and the perpetuation of neocolonial dynamics. These materials reveal biases that contribute to the marginalization of Equatorial Guinean artists and underscore the continued dominance of Western artistic frameworks.
The catalog highlights an "exceptional section of drawing and graphic work" featuring renowned Spanish artists such as Picasso, Millares, Saura, Sempere, Tapies, Serrano, Tharrats, Canogar, Chirinos, and Chillida. It also mentions contributions from Ibero-American artists like Plank, Kreps, Oscar Serra, Patricia Delmar, Farnese de Andrade, Da Rocha, Portales, Lile Spataro, Wilfredo Lam, Guayasamin, Sabillon, Torralba, Zachrisson, Jirnénez, Larios, and Mauro Mejiaz. However, despite these claims, there is a glaring underrepresentation of Equatorial Guinean and African artists.
Only two Black African artists from Equatorial Guinea are listed among a total of 228 artists, with the vast majority being from Spain. This disparity underscores a colonial mindset that prioritizes Western and Spanish art over local expressions. The museum's emphasis on Spanish and Ibero-American contributions, while marginalizing African artists, perpetuates the secondary position of Equatorial Guinean art within the broader Hispanic world. This suggests that local art is valued primarily when framed within a Western context, reinforcing colonial hierarchies and diminishing the significance of indigenous artistic traditions.
The language used in the catalog compounds this issue. While the museum claims to have a "notable representation of Africans," this representation is skewed towards artists who have left the continent or whose work is internationally recognized, often through Western validation. Mentioning Equatoguinean sculptor Leandro Mbomio and Cuban painter Wilfredo Lam as notable African artists, while important, does not compensate for the overwhelming underrepresentation of local talent. This selective inclusion reinforces the notion that African art gains legitimacy primarily through international, particularly Western, recognition.
The art terminology dictionary provided by the museum further illustrates these neocolonial dynamics. Designed to educate readers on basic art categories, the dictionary focuses primarily on European concepts and how these trends have been adopted by Spanish and Latino artists. There is a notable absence of terms and categories specific to Equatorial Guinean or African art traditions. This Eurocentric focus alienates local artists and audiences and perpetuates the dominance of Western art historical frameworks.
Rather than reshaping art categories to reflect the diversity of Guinean art, the dictionary reinforces existing Western paradigms. This approach fails to illuminate the unique contributions of Equatorial Guinean artists and does not challenge the prevailing narratives that have historically marginalized non-Western art forms. By neglecting to include terms and concepts intrinsic to Guinean and African art, the dictionary perpetuates a limited and exclusionary understanding of art history.
In summary, the artist catalog and art terminology dictionary of the MIACGE exemplify the neocolonial power structures embedded within contemporary cultural institutions. The emphasis on Spanish and Ibero-American artists, coupled with the marginalization of Equatorial Guinean and African artists, reflects a continuation of colonial hierarchies. The Eurocentric focus of the art terminology dictionary further entrenches these dynamics, failing to provide an inclusive and representative framework for understanding art. These materials highlight the need for a critical examination of institutional practices that continue to prioritize Western artistic paradigms over local cultural expressions. -
Photographic archive of Felipe Osa Angüé
Images from the personal photographic archive of Felipe Osa Angüé during an interview by Ministerio de Cultura y Promoción Artesanal of Equatorial Guinea. -
Poem Gritos de libertad y esperanza
Poem Gritos de liberad y esperanza by Anacleto Mibuy -
Technology and neocolonial Imperialism: the arrival of the Spanish TV to Equatorial Guinea, Fernando Poo (1968)
In 1968, just after Equatorial Guinea gained independence from Spain, the introduction of Spanish television marked a significant moment in the nation's media landscape. Despite the newfound political autonomy, Spain's cultural and ideological influence persisted, manifesting through various institutions and visual media. This continued presence highlighted Spain's neocolonial intentions, thinly veiled under the rhetoric of collaboration and progress.
The arrival of Spanish television services in Equatorial Guinea was framed by Spain as a gesture of goodwill, aimed at fostering development and modernization. The Spanish Minister of Communications, in his inaugural speech, likely emphasized this collaboration, presenting the new television services as a symbol of shared progress. This narrative, however, subtly reinforced Spain's cultural and technological dominance, suggesting that Equatorial Guinea's advancement depended on Spanish contributions.
Local elites in Equatorial Guinea played a crucial role in sustaining this neocolonial enterprise. Their cooperation with Spanish authorities helped legitimize Spain's ongoing influence, portraying it as beneficial for the country's growth. This collaboration underscored the complex power dynamics between the former colonizer and the newly independent state.
The Head of State of Equatorial Guinea, in his address during the inauguration, probably expressed gratitude for the new television services, framing them as a positive contribution from Spain. This expression of appreciation, while diplomatically necessary, also reflected the lingering influence of Spain in the post-independence era. The speech likely echoed the modernization narrative, suggesting that Spanish technology and media would propel the country into a new era of progress. This perspective often marginalized indigenous forms of knowledge and communication, privileging Western media and content.
The integration of Spanish television services into Equatorial Guinea's media landscape symbolized the country's incorporation into the global (Western-dominated) media sphere. While presented as a step towards development, this move reinforced Spain's cultural hegemony, maintaining control over the narratives and identities within Equatorial Guinea.
The original clip announcing the arrival of the Spanish TV is available of Youtube through the following link: https://www.youtube.com/watch?v=_Jt-3Df2gTE&t=10s
You can find attached the written versions of the speeches by both the Minister of Communications of Spain and the Head of State of Equatorial Guinea, as part of the diplomatic, media, and political activities related to the arrival of Spanish TV. -
The Instituto de Estudios Africanos (IDEA) in the Spanish Guinea
The Instituto de Estudios Africanos (IDEA), founded in 1945, was a Spanish institution dedicated to the study and promotion of African cultures, histories, and geographies, primarily to support and legitimize Spain's colonial ambitions in Africa, particularly in Equatorial Guinea. Active until the end of the colonial regime, IDEA conducted and published extensive research portraying Spanish colonialism as a civilizing mission. The IDEA brought together scientists from different disciplines and fields—such as geology, ethnology, archaeology, medicine, history, and law—and other colonial ‘experts’ such as missionaries or generals, seasonally commissioned for specific scientific expeditions.
The institute was run by a combination of academics, colonial administrators, and policymakers who were aligned with Francoist ideologies. Notable figures included scholars such as historian and Africanist Julio Caro Baroja, who contributed to the ethnographic and cultural studies promoted by IDEA. The institution played a significant role in creating and disseminating knowledge that supported the colonial narrative, influencing both colonial policy and public perception in Spain regarding its African territories.
In summary, the institute’s aim was to create ‘total knowledge’ about the colonies from a ‘plurality of angles.’ Visual elements were crucial for audiences’ intellectual and emotional activation regarding their 'expository science'. This institute served as a hub for scholars and officials who produced extensive studies on African societies, resources, and environments, framing them within a narrative of Spanish benevolence and developmentalism. The institute's publications and activities were crucial in maintaining the ideological support for colonial rule within Spain, portraying the colonial project as a scientific and civilizing endeavor. -
The Myth of Bantu Unity and Equatorial Guinea Conflicting Identities during Obiangs’ Regime
At this point, my curation aims to illustrate how the conflict regarding the Bantu myth has added an extra layer of complexity to the operation of neocolonial politics, with local elites acting as their conduits in the aftermath of Francoism and the Spanish imperial project. The materials included in this curation—textbooks, poems, intellectual research, and material culture—provide a comprehensive overview of the varied reactions, both critical and supportive, to Obiang’s cultural and ethnic enterprise.
The Guinean-Ecuadorian state itself is a product of colonial engineering aimed at homogenizing a diverse society. The colonial powers attempted to create a unified social organization, disregarding the unique histories and commitments of the different ethnic groups. This homogenizing effort has made it challenging for Equatorial Guinea to function as a unified state accepted by all its ethnic constituents (Muakuku Rondo, 19). Precisely, Teodoro Obiang Nguema Mbasogo’s regime has intricately woven the myth of Bantu unity and the influence of Hispanic culture into its political and cultural framework, creating a narrative that attempts to foster national cohesion while navigating the country's complex ethnic landscape.
Equatorial Guinea, with its diverse array of ethnic groups, including the Fang, Bubi, Ndowe, and Annobonese, has been a fertile ground for such manipulation. The Fang, a Bantu-speaking people, form the majority and dominate the mainland region of Río Muni. The Bubi primarily inhabit Bioko Island, the Ndowe reside along the coastal areas, and the Annobonese live on the island of Annobón. The regime has leveraged the notion of Bantu unity to propose a shared cultural heritage among these groups, institutionalized through initiatives like the 'Centre International des Civilisations Bantu' (CICIBA) in Libreville, Gabon, with support from UNESCO, the UNDP, the EU, and other organizations (Cusack, 79). The international backing of Bantu cultural unity adds a veneer of legitimacy to the regime's narrative.
However, this narrative of unity belies the deep-seated ethnic divisions within the country. The Fang ethnic group, to which Obiang belongs, has maintained political dominance since independence, leading to perceptions of favoritism and marginalization among other groups, particularly the Bubi. The Bubi have a distinct identity and have historically resisted assimilation into the broader Bantu identity promoted by the Fang. This resistance has often been met with repression and violence, especially following the discovery of oil on Bioko Island, which heightened the island’s economic importance.
The regime’s exploitation of ethnic divisions extends to other groups as well. The Ndowe, primarily coastal dwellers, frequently feel excluded from the political and economic developments that favor the mainland and Bioko Island. Similarly, the Annobonese, isolated on a distant island, have limited political influence and access to national resources. The discovery and exploitation of oil have further exacerbated these tensions, as the wealth generated has not been evenly distributed. This uneven distribution of resources fuels grievances among marginalized groups who see the benefits accruing predominantly to the Fang elite and their associates.
In parallel, Obiang’s regime has actively promoted the importance of Hispanic culture in shaping the nation’s identity. This strategy serves a dual purpose: it reinforces a sense of shared cultural heritage with Spain and appeals to Spain’s interest in perpetuating its cultural legacy in Africa, often as a means of soliciting development aid. This linkage between Hispanic and African cultures can be traced back to Francoist ideologies such as "hispanotropicalismo" (Cusack, 214).
In summary, the following section of the collection offers a comprehensive overview of the varied reactions to Obiang’s cultural and ethnic enterprise. These materials illustrate the complex ways in which neocolonial politics operate in Equatorial Guinea, with local elites acting as the conduits of these policies. -
The Pavilion of La Guinea Española in the Exposición Iberoamericana of Seville, 1929
“Spain assumes a new commitment and a new spiritual challenge in its territories of equatorial Africa: the very Christian enterprise of converting the “helpless” and “backward” native population of Guinea. The conjunction of both colonization designs results in the articulation of an enormous project of a Spanish-African spiritual community, very close, at least in theory, to what had been projected on American lands in the past. These are the ideological and spiritual bases that make it possible for the Sevillian exhibition to structure its contents in a Trinitarian model supported by the presence of the Spanish provinces, the American republics and the Hispanic colonies in Africa, with the unavoidable complement of the presence of several pavilions. institutional and the participation of some Spanish and foreign companies” (Sánchez Gomez 1049)
The role of colonial pavilions in 19th and 20th century international expositions merits critical evaluation. These pavilions served as showcases for colonial powers to project cultural superiority, economic prowess, and political authority over their colonies. They often presented a curated image of colonial territories, highlighting indigenous crafts, natural resources, and aspects of daily life, but frequently through a lens shaped by colonial stereotypes and Eurocentric perspectives. The Guinea Pavilion exemplifies this approach, presenting Equatorial Guinea as a cultural and economic asset under Spanish governance, yet through a filtered and sometimes patronizing portrayal.
The Guinea Pavilion at the Seville exposition, spanning 2,832 square meters on a 3,400 square meter plot, stood significantly larger than its Moroccan counterpart, illustrating Spain's expansive colonial ambitions. Designed by architect José Granados de la Vega and funded by the General Directorate of Morocco and Colonies, its construction aimed to assert Spain's presence in Equatorial Guinea. According to the official guide, the pavilion's overall concept was orchestrated by agricultural engineer Emilio Gómez Flores, with artistic oversight by Vicente Zubillaga. However, scholar Luis Ángel Sánchez Gómez critiques the design as a neo-colonial portrayal of "exotic-primitive" architectures, lacking genuine ethnographic inspiration (1069).
Moreover, these pavilions were instruments of diplomatic strategy, asserting colonial claims and justifying imperial rule amidst growing international scrutiny and anti-colonial movements. They functioned as tools of soft power, influencing global perceptions of colonial administrations and reinforcing colonial hierarchies. The Guinea Pavilion, with its elaborate design and substantial size, aimed to impress visitors with Spain's commitment to modernizing and civilizing its African territories, while simultaneously perpetuating colonial narratives that justified European dominance over non-Western societies. -
The Production of Colonial Science during Francoism
Modern science played a central role in the consolidation and maintenance of Spanish colonial rule, particularly under Francisco Franco's dictatorship. According to Cécile Stephanie Stehrenberger, In the early twentieth century, scientific and technological advancements, such as geographical and biomedical knowledge, became crucial tools for establishing Spanish authority in Equatorial Guinea (239). This trend intensified during Franco's regime, which systematically mobilized scientific knowledge to govern and exploit colonial populations and resources. Knowledge production and dissemination were closely intertwined, involving a dynamic interaction between scientists and various 'publics,' including colonial officials, business owners, and settlers in Equatorial Guinea. This engagement was not limited to the colonies; metropolitan audiences in Spain were also targeted to garner support for the colonial project.
Institutions such as the Instituto de Estudios Africanos (Institute of African Studies) played a pivotal role in this endeavor. Founded in 1945, the institute was instrumental in generating and disseminating knowledge about Africa, thereby legitimizing and promoting Spain's colonial ambitions. It conducted extensive research in anthropology, geography, and history, producing studies that reinforced the narrative of Spanish benevolence and civilizing mission in Africa. Similarly, Hermic Films, a production company, created documentaries that showcased the supposed progress and benefits of Spanish colonialism.
These efforts were aimed at both informing and persuading various audiences of the legitimacy and necessity of the colonial enterprise. By presenting a scientifically grounded and visually appealing narrative, these institutions helped to sustain metropolitan support for colonial policies and justify the exploitation of African populations and resources. Stehrenberger's work highlights how science and technology were not merely tools of colonial rule but integral to the ideological apparatus that sustained Franco's dictatorship and its imperial ambitions.
Consequently, the following items included in the second half of the first collection explore in depth the scientific and technological sources adopted by this later stage of the imperial enterprise in Equatorial Guinea, whose institutions operated until the very ending of the colonial regime in the country.