Hew Locke’s captivating exhibition, “What Have We Here?” at the British Museum, is a powerful exploration of the institution’s colonial past, forcing viewers to confront the complexities of its collection. It’s a project that has been years in the making for Locke, a renowned artist whose work often delves into themes of identity, nationhood, and colonial power. In 1987, as a student, Locke rescued two Benin Bronze plaques from the museum’s discard pile, marking the beginning of his enduring fascination with the institution. Now, he’s been invited to curate an exhibition that delves deep into the museum’s collection, offering a new perspective on its contentious history.
Locke’s exhibition is more than just a display of artifacts; it’s a curated dialogue about the moral and ethical implications of the British Empire’s legacy. The show features over 150 objects, each imbued with a complex history, from a gold tiger head looted from Tipu Sultan’s throne to glass beads traded for enslaved people in Africa. Locke masterfully weaves together these objects, creating a “beautiful can of worms” that challenges viewers to grapple with the uncomfortable truths of colonialism.
Locke’s approach is distinctly personal. He frames the museum’s collection through the lens of the colonized, offering a counter-narrative to the dominant Western perspective. This perspective is evident in his choice of objects, many of which highlight the brutality and exploitation inherent in colonial practices. The Barbados Penny, a small object featuring the profile of a Black man with the Prince of Wales’ three-feathered crown and the inscription “I Serve,” is a particularly poignant example. This object, used as a token on plantations, serves as a stark reminder of the insidious nature of slavery. Locke sees this object as a “sick joke,” a symbol of the dehumanization and oppression that characterized colonial rule.
The exhibition’s title, “What Have We Here?” is not simply a rhetorical question. It’s a direct challenge to the museum itself, prompting it to confront its past and grapple with the question of restitution. Locke, who is 65, recognizes that he may not live to see the Benin Bronzes returned to Benin City. However, he insists that their presence in the museum is morally problematic and they should be repatriated. He advocates for a broader conversation about the decolonization of museums, stating that it’s not just a British Museum issue, but a challenge facing encyclopedic museums globally. He believes that museums have a responsibility to address their colonial past and engage in meaningful dialogue about the future of their collections.
Locke’s exhibition is not a simplistic condemnation of colonialism. It recognizes the complexities and nuances within the historical narrative, acknowledging that actions can have unintended consequences. He points to the example of the USS Constitution, a ship that initially protected American trade, including the slave trade, but eventually played a role in disrupting it. He highlights the irony that the US abolished the slave trade for economic, not moral, reasons, while slavery continued in the south. Every object in the show contributes to this larger picture, offering a nuanced exploration of the empire’s entanglements. Locke’s approach compels viewers to engage in critical thinking, to move beyond simplistic narratives and confront the complexity of history.
‘What Have We Here?’ is a powerful and thought-provoking exhibition that offers a vital perspective on the role of museums in a rapidly changing world. The museum’s willingness to host such a challenging exhibition is a significant step in confronting its past and engaging in a necessary dialogue about decolonization. As Locke states, “The world is changing and shifting and things aren’t what they used to be. It’s a brave thing for the British Museum to address.” The exhibition serves as a catalyst for broader conversations about the future of museums, and their role in preserving and interpreting history in a way that acknowledges the diverse voices and perspectives of the past.
