Berlin arts centre “Haus der Kulturen der Welt” (HKW) is undergoing a transformation under the direction of Bonaventure Ndikung, a prominent figure in the German cultural scene. The HKW, initially built for propaganda purposes during the Cold War, is now being revitalized as a hub of post-colonial multiculturalism. Ndikung, who hails from Cameroon and has lived in Germany for over two decades, envisions the center as a space that celebrates the diverse cultures of the world.
Revitalizing the HKW
After obtaining a doctorate in medical biology, Bonaventure Ndikung pursued a career as an engineer before transitioning to the world of art. In 2010, he established the Savvy gallery in Berlin, a space that fosters the convergence of art from diverse regions. His involvement as a curator in the renowned contemporary art event, Documenta, held in Kassel, Germany in 2017, further solidified his presence in the art world.
The HKW, often referred to as the “pregnant oyster” due to its unique architectural design, reopened in June after extensive renovations. Ndikung’s first project, “Quilombismo,” aligns with his vision of expanding the center’s offerings. The exhibition explores the history of “Quilombos,” communities formed by African slaves in 17th-century Brazil, and features contemporary art from post-colonial societies worldwide.
Ndikung is taking a fresh approach to the HKW, inviting artists to transform the space by painting walls and even the floor. As part of the “Quilombismo” exhibition, African braids, symbolizing liberation for black people, are affixed to the floor—a powerful representation of resistance and freedom. Ndikung’s dedication to inclusivity is reflected in his decision to rename all the rooms at HKW after women who have made significant contributions to the advancement of society but have been overlooked by history.
A Vision for Cultural Change
Ndikung’s appointment as the director of HKW coincides with a growing awareness in Germany about its colonial past. Berlin has recently begun repatriating looted objects to African countries, acknowledging the need to reassess and address historical injustices. Ndikung, born into an anglophone family in Cameroon, hopes to establish a museum in his home country that brings together historical and contemporary objects from various nations. Despite the ongoing conflict in Cameroon’s Northwest region, he remains committed to promoting cultural exchange and understanding.
Ndikung’s innovative approach and commitment to highlighting marginalized voices in art and history are poised to reshape the HKW and contribute to a more inclusive and diverse cultural landscape in Berlin. Through exhibitions like “Quilombismo”, he aims to foster dialogue, challenge established narratives, and celebrate the rich heritage of post-colonial societies.
