The French-Beninese artist Roméo Mivekannin is presenting his first institutional solo exhibition in Germany, hosted by KUNSTHALLE GIESSEN and curated by Dr. Nadia Ismail. This highly anticipated show runs until March 15, 2026, and offers a profound exploration of art history, identity, and memory through Mivekannin’s unique lens.

Mivekannin’s work merges European artistic traditions with critical reflections on Black identity, colonial violence, and historical memory. With sharp wit and critical insight, he inserts himself into well-known art historical narratives, exposing their silences and biases. The exhibition’s centerpiece is an immersive installation inspired by Adolf Hitler’s never-built “Fuhrermuseum” in Linz. Within a walk-in cage structure modeled after the proposed museum’s monumental architecture, Mivekannin presents portraits of artists who were active during the Nazi era. These figures range from victims like Elfriede Lohse-Wachtler to collaborators such as Leni Riefenstahl, revealing the complex entanglements between art, fascism, and colonialism. The exhibition’s title, which translates to “Barely a word was spoken,” underscores the often-unspoken role of art institutions in confronting or obscuring difficult histories.

Beyond historical critique, Mivekannin’s art also embodies a ritualistic healing process connected to his heritage. As a descendant of Béhanzin, the last king of Dahomey, the artist draws on Vodun spiritual practices. His paintings, frequently made on used bedsheets, are soaked in elixirs to cleanse negative energies before being painted. His ceramic pieces contain ceremonial substances that further intertwine spirituality with political commentary.

This exhibition, developed in collaboration with Cecile Fakhoury Gallery, challenges viewers to reconsider the roles of museums and artists in the making and unmaking of history, while also highlighting the enduring power of spiritual and cultural identity in contemporary art.