New exhibition // Seeing the unseen: the storeroom unveiled

Introduction by the Collector

I am deeply gratified by the decision of the Château Vodou Museum team to use this exhibition as an opportunity to shed light on the very meaning and function of a museum. Their objective — to highlight the work of conservation by exceptionally opening our storerooms to the public — is both rare and commendable.

Since time immemorial, the collection of cultural objects has served as a bridge between peoples, fostering mutual understanding and intercultural dialogue. Yet it is undeniable that certain objects, once destined for veneration or ritual use, have become today mere collectible items, sometimes subject to speculation, with public access restricted or even commodified. Such tensions raise fundamental questions about the value, restitution, and preservation of cultural heritage.

The approach undertaken by Marie-Luce and myself is rooted in this reflection. We have assembled a unique collection of Vodou objects not out of a spirit of profit, but from a sincere desire to understand, to cherish, and to transmit the richness of this culture. Many of these objects, often condemned to oblivion or destruction, have for us been a school of learning, a form of artistic expression, and a vessel of social, religious, and ecological history.

This work of collecting has been conducted with respect and integrity: each acquisition was voluntary, purchased at the price requested, without coercion or speculation, and none of our pieces has ever been resold. When errors or copies were identified, they were not integrated into the collection — a testament to our commitment to authenticity. Our aim has never been financial gain, but education and respect for these cultures.

We have also sought to ensure that this collection might serve as a written record, documenting in depth the religious, social, and environmental meanings of Vodou, thereby contributing to a greater recognition of a spirituality so often misunderstood. By participating in ceremonies and collaborating with experts and our team, we have endeavoured to honour and to highlight this tradition in all its complexity. The recent history of this collection, assembled after 1974, falls within the framework of the UNESCO Convention, strengthening our conviction that this undertaking constitutes neither a spoliation nor a matter for restitution, but rather a contribution to the valorisation of a world heritage. Recognition by the government of Benin — particularly through our collaboration with the future museum of Porto-Novo — attests to the credibility and legitimacy of our commitment.

This exhibition aspires to reveal and celebrate the richness of Vodou, emphasising the importance of this culture in the history, social organisation, pharmacopoeia, and ecology of the region. Beyond being a mere assemblage of objects, it represents a message of openness, respect, and recognition towards a millennia-old tradition whose influence extends far beyond the borders of West Africa.

M.Arbogast