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Yinka Shonibare CBE RA at Serpentine South Gallery

The War Library is an exploration of the legacy of war and conflict brought about by imperial ambitions. The installation consists of 5,700 books bound in Dutch wax printed cotton. Written in gold on the spines of 2,700 books are names of global conflicts and peace treaties, which were a direct or indirect result of imperial ambitions. 

The conflicts and treaties represented are from any historical period and offer a snapshot from around the world. The War Library is therefore by no means meant to be a complete list of all conflict and peace processes but instead is a reflection on how they are currently presented in the public realm. This is in recognition of the fact that views on conflict and peace are always subjective. Many of the names of the conflicts and treaties appear on two books, under different names, and this is again to reflect the subjective nature of these histories and to ensure that opposing perspectives are represented. 

The work asks us to consider the historical and current impact of imperial ambitions and the role they played in identity shaping in our global society. The library is supported by an online resource which provides further information on each of the conflicts and peace treaties represented. This research was conducted by independent researchers and aims to give the different parties involved in the conflict or treaty equal weighting.

This series of scaled-down public monuments are based on public sculptures in London which were originally commissioned to celebrate a colonial figure. The originals are mostly large-scale bronze sculptures placed on tall plinths. Here, Shonibare reflects on the dynamic of scale, ‘the relationship of your body to their body is immediately a subservient one.’ Here, the sculptures are reduced in size and deliberately brought to eye level ‘to metaphorically reduce [their] grandeur… [and] power over citizens.’ 

The Dutch wax patterns that cover the monuments are designed by Shonibare and hand-painted onto the surface of each sculpture, some also include gold leaf. ‘I’m making them more beautiful,’ the artist explains, ‘I’m changing their character, or the history of their character, into something much more interesting.’ Rather than making a moral judgment, Shonibare invites discussion on the role of public sculptures today. 

Created in response to the debates around public sculptures of colonial figures, Shonibare reflects ‘I don’t think statues should be destroyed, the public should be able to see them, but there should be museums built for them so people can understand the history of these people and what they did.’

The artist selected buildings based on their social role and importance. The practice of claiming sanctuary includes examples of temples in ancient Greece and Rome which offered protection to fugitives and slaves. In medieval Europe, religious buildings provided asylum for criminals or individuals who challenged the norms of society. While in recent years, intergovernmental and non-profit organisations, and charities aim to offer places of sanctuary to those who are displaced. These spaces are increasingly politicised, navigating complex socio-economic dynamics in an attempt to provide safety to vulnerable groups such as refugees, rough sleepers and domestic violence survivors.