Review: Homage to the Departed - Ethical Considerations for Human Remains in Museums
Homage to the Departed: Ethical Considerations for Human Remains in Museums, curated by Andrea Chounyane and Katlego Squire at Duggan Cronnin Gallery of McGreggor Museum, is a compelling exploration of the ethical issues surrounding the display of human remains in museums. This exhibition stands out for its thematic focus and its intersection of sociology, heritage, science, anthropology, and art.
The exhibition features the work of young artists who were guided and mentored by a distinguished team, including Dr. Halina Suwalowska, Anna Suwalowska, and Professor David Morris. Over a month, these artists engaged deeply with museum artifacts, archival materials, and rock paintings, resulting in a diverse and thought-provoking collection of works that reflect the interdisciplinary nature of the project.
A particularly striking feature of the exhibition is how it captures the interaction between the artists and the historical artifacts they encountered. For example, Alfred Duggan Cronin’s extensive photographic documentation of South African rural life has had a significant influence on Chounyane’s work. Cronin’s early 20th-century photographs of African communities have inspired Chounyane to reinterpret these historical narratives through contemporary art.
In Chounyane's work, titled Self Portrait l, she delves into her fascination with Indian and Greek cosmology, exploring how these ancient systems explain natural phenomena and complex human experiences. The piece, which addresses the ethics of human remains, depicts an ailing male figure being attended by a female, possibly representing Venus. A long tube, resembling an intestine, is shown falling off, adding a visceral element to the work. This reflects on the symbolism of Venus across various mythologies and her association with the colour pink, traditionally linked to femininity. Chounyane's exploration enriches the discussion on contemporary interpretations and ethical considerations in art and mythology.
Some of the works in the exhibition appear unfinished, which adds a dynamic layer to the viewing experience. This intentional openness encourages greater audience interaction and interpretation, inviting viewers to engage more personally with the artwork. The artists' exploration extended beyond visual artifacts to include archival research and fieldwork at the Wildebeest Kuil Rock Art Centre, enriching their creative process.
Katlego Squire’s Land Of The Dead employs a chalk-like medium on a blackboard surface to create a classroom atmosphere that fosters historical and philosophical reflection. The artwork features a depiction of a skull adorned with aloe plants, which resonates with the profound connection between indigenous knowledge and the natural world.
The use of a blackboard evokes a space of learning and contemplation, drawing viewers into a dialogue about the significance of traditional African perspectives on death and life. This is particularly pertinent in light of African philosophical views on death, such as those articulated by philosopher Kwame Anthony Appiah, who discusses the concept of death as a transition rather than an end, deeply embedded in the continuum of life and ancestral presence.
Additionally, philosopher Léopold Sédar Senghor’s ideas on negritude underscore how African cultures often view death as a transition to an ancestral realm where one continues to participate in the life of the community. Squire’s artwork critiques the Western commercialisation of African herbal practices, reflecting Senghor’s notion of preserving the integrity of indigenous knowledge against external commodification.
Through his work, Squire engages with these philosophical perspectives, highlighting the enduring relevance of indigenous practices and challenging the reductionist view imposed by Western commercial interests. This piece thus becomes a platform for re-evaluating and honouring the richness of African epistemes related to death and nature.
Sureyyah Naledi Moroka’s The Spirit Lives Among Us is a masterful synthesis of cubism, post-impressionism, figurative art, and abstraction. Influenced by the earliest cubist pioneers like Pablo Picasso and Georges Braque, as well as abstract innovators such as Wassily Kandinsky, Moroka’s work integrates these styles into a cohesive and thought-provoking piece.
The artwork presents a serene yet complex visual experience, combining abstract forms with a study of anatomical structures, including the spine and ribcage. This layered approach adds depth and significance, inviting viewers to explore both the spiritual and artistic dimensions of the work. The integration of cubism’s fragmented perspectives and abstraction’s emphasis on form and colour encourages a multifaceted engagement with the piece, prompting reflection on the intersections of human anatomy, spirituality, and artistic expression.
By blending these historical art movements with contemporary concerns, Moroka’s work not only pays homage to the artistic innovations of the past but also creates a unique space for viewers to engage with its deeper meanings and emotional resonances.
Junior Oliphant's Children of the San VII vividly captures a nocturnal scene featuring the San people—Southern Africa's first indigenous inhabitants—gathered around a fire. This depiction likely portrays a moment of storytelling or a communal meal, essential aspects of San cultural life. The figures holding hands evoke a strong sense of unity and community, deeply reflecting the San people’s values and traditions.
The San, known for their rich heritage, have left behind a remarkable legacy of rock paintings across Southern Africa. These artworks, found in various sites including the Kgalagadi, Drakensberg Mountains and the Cederberg, provide profound insights into their spiritual beliefs, daily life, and environmental interactions. Oliphant’s work resonates with these ancient traditions, honouring the San’s enduring connection to their land and cultural practices.
Mogomotsi Makukumare’s The Journey, inspired by Alfred Duggan Cronin’s extensive documentation of rural South Africa, is a poignant work created using chalk on a blackboard. This piece offers a nostalgic portrayal of rural life, reflecting Cronin’s broader focus on the experiences of rural communities across the country. In the artwork, a woman is depicted tending to her garden—a vital source of self-sustainability and nourishment. This image contrasts sharply with the modern reality where many people are reliant on retail stores for food, often due to a lack of access to land for growing their own produce.
Makukumare is a self-taught artist whose work demonstrates significant potential. With further training, whether formal or informal, he is poised to make even more impactful contributions to the art world. His ability to evoke such profound connections to rural life and sustainability through his art highlights his unique talent and suggests a promising future in the arts.
Talking about this project, Anna Suwalowska, whose work is also included herein, remarked: 'My idea for this programme was to bring a multidisciplinary team to work between art and science and give local young artists a voice to work with their own heritage. Consequently, I have launched the Kimberly Art Collective so they have responsibility for their own growth and to encourage them to work independently once we leave Kimberley. They have already brought in two exhibitions this year at the Museum and are growing their audience. Fingers crossed for their future.'
Homage to the Departed masterfully combines artistic innovation with scholarly reflection, offering a nuanced examination of ethical considerations and historical narratives. The exhibition highlights the creative achievements of young artists while critically engaging with the complexities of museum practices and the treatment of human remains, bridging the fields of sociology, heritage, science, anthropology, and art.
Anna Suwalowska, who has played a crucial role as a lead artist and mentor, has significantly shaped the development of the young artists' work. Her guidance and contributions are both visible and impactful, ensuring a meaningful intersection of historical inspiration and modern interpretation. Suwalowska will continue this project into January 2025, with further explorations and collaborations.
Dr Halina Suwalowska, Research Fellow, Ethox Centre, University of Oxford conveyed special thanks to the international collaborators and partners who have supported this initiative:
South Africa:
Sunet Swanepoel, Director, McGregor Museum, Kimberley
Dr. Joseph Chikumbirike, Lecturer, Heritage Studies, Sol Plaatje University, Kimberley
Prof. Jesmael Mataga, Associate Professor, Heritage Studies, Sol Plaatje University, Kimberley
Prof. David Morris, Honorary Research Associate, McGregor Museum Kimberley and Extraordinary Professor, School of Humanities, Sol Plaatje University
Marie Lodewyk, Curator at McGregor Museum for excellent technical support.
Berman Institute of Bioethics at Johns Hopkins, Baltimore, US:
Joseph Ali, JD, Associate Director for Global Programs
Lauren Arora Hutchinson, Director, iDeas Lab
Aaron Henkin, Senior Producer, iDeas Lab
Ethox Centre, University of Oxford, UK:
Claire Murray, Research Projects Coordinator
Milly Farrell, Public Engagement Manager
Arsenii Alenichev, Researcher
Gabriela Pavarini, Postdoctoral Fellow
The exhibition opened on the evening of 26th July 2023.
For more information about the exhibition visit: https://www.oxjhubioethics.org/research/homage-to-the-departed/Home?fbclid=IwY2xjawESnbhleHRuA2FlbQIxMQABHU01MZbgQTYTE-rbY1lXLd-VDRtW4nGj0aqWWfS-JkqFKPh7BfghtpT22A_aem_09kSUGUhmieiBgnsSzvQuw
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Chepape Makgato is an independent visual artist, theatre producer, arts writer, educator, curator, and researcher. He is the founder and creative director of Samanthole Institute of Creative Arts which leads tge Art Focus of Univeristy of Limpopo's FNB Incubation Program. Chepape is a Chief Curator of William Humphreys Art Gallery, in Kimberley, Northern Cape. He holds a Master's Degree in Fine Art from the University of the Witwatersrand and has exhibited his work locally and internationally. He is currently a PhD candidate in the Art and Music Department at the University of South Africa. He is a deputy chairperson of South African Museums Association Central (Free State and Northern Cape provinces). He serves on the panel of Acquisition Committee of ArtBank South Africa. He is the the chief patron of Khehla Chepape Makgato Youth Libraries.
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