A bold look at how the Museum of African Art is redefining Africa’s place in Belgrade’s cultural life and inspiring a new generation of visitors
CULTURAL INTERVIEW
by Dragan Nikolić
Dr Marija Aleksić
Director of the Museum of African Art (MAU)
Step into Belgrade’s “House of Africa” – a museum that refuses to be a static relic and instead pulses with dialogue, education and collaboration. In this interview, Director Dr Marija Aleksić reveals how the Museum of African Art (MAU) is shaping a new vision of Africa in Europe – breaking clichés, sparking partnerships, and turning exhibitions into living, breathing experiences.
Our aim is not to reproduce traditional colonial narratives, but to present Africa through a lens of equality, respect, and mutual understanding
The MAU is unique in the region. How do you define its identity and mission today, especially considering it was created as a result of cultural and diplomatic ties rather than colonial heritage?
The MAU is the first and only museum in the region dedicated exclusively to the arts and cultures of the African continent. It was born out of cultural and diplomatic ties – not colonial heritage – and that is what makes it unique. It is a place of genuine cultural exchange and a testament to the long-standing friendship between African nations and our country.
It is worth recalling that the Museum was created thanks to the vision and enthusiasm of the Pečar couple, Yugoslav diplomats, who donated their private collection of objects gathered across Africa to the City of Belgrade. That original collection still forms the foundation of the museum and is the basis on which we continue to build cooperation with African artists and institutions.
Our aim is not to reproduce traditional colonial narratives, but to present Africa through a lens of equality, respect, and mutual understanding. We aim to bring African art closer to the public, not as an exotic curiosity, but as a rich and diverse blend of traditions, aesthetics, and contemporary artistic expression – through ongoing dialogue, education, and collaboration with African artists and researchers. The legacy of the Non-Aligned Movement and friendship with African nations further shape our identity, which is why interest in the MAU – the only anti-colonial MAU in Europe – remains strong.
Directing the museum means not only safeguarding the founders’ legacy but also building new bridges with the African continent
You are at the head of the museum, but also part of the team that creates programmes and preserves the collection. What does it mean to you to lead such an institution, and how do you motivate your team to keep pushing boundaries?
For me, leading the MAU means not only safeguarding the founders’ legacy but also building new bridges with the African continent. Our permanent display features significant examples of West African art. At the same time, our temporary and thematic exhibitions present the arts of Ethiopia, the Maghreb, as well as East, Central and Southern Africa.
Travels and direct contact with artists, curators and colleagues constantly remind us that African art is not static – it is contemporary and deeply intertwined with the everyday lives of its people.
Directing the museum carries great responsibility – not only to preserve the entrusted heritage, but also to enrich it, remain innovative, and stay open to new ideas. I motivate the team through a shared mission: every exhibition, workshop, or programme has a clear message and purpose. I encourage colleagues to research, experiment, and not be afraid to take risks, while visitors’ responses inspire and shape new content. Together, we are building the museum as a space for encounters, exchange and dialogue – a process that can be challenging but also brings the most energy, enthusiasm and inspiration.
The Museum has recently undergone important administrative and organisational changes. How do these changes affect day-to-day operations and long-term development plans?
The transfer of founding rights from the City to the State – placing the museum under the auspices of the Ministry of Culture and the Government of the Republic of Serbia – has given us a stronger institutional position and room for strategic planning. This enables long-term project development, ranging from improving conditions for preserving the collection and reconstructing the building to expanding capacities for education and international cooperation.
In our daily work, this means having more resources, better conditions for staging exhibitions, and greater responsibility to ensure everything is sustainable, well-thought-out, and transparent. The team can plan projects more ambitiously and offer the audience higher-quality, more diverse and more accessible content.
All of this is also recognition of the museum’s importance and achievements over the decades – not only in the cultural sphere but also internationally and politically. With the support of the Government and the Ministry of Culture, our work in the coming years will be even more visible and influential, particularly as we approach the fiftieth anniversary of the museum’s founding.
We want the Museum to be a place where African culture is not only exhibited but lived, reflected upon and inspiring
What opportunities do you see for strengthening cooperation with African artists, institutions and cultural centres? Are you planning new international projects or residency programmes?
For over four decades, the Museum has played a crucial role in fostering cultural connections and promoting the principles of multiculturalism. Our goal is for the Museum to be not just a mediator of African art, but an active partner in it.
Our curatorial team closely follows the contemporary art scene and collaborates on joint projects with African colleagues. Exchange programmes for experts and exhibitions – whether bringing artists to Belgrade or sending our curators to African countries – deepen an authentic dialogue.
Support from diplomatic missions and embassies – both of African countries in Belgrade and of our own in Africa – is essential in carrying out such projects, as is ongoing cooperation with the Ministry of Foreign Affairs of the Republic of Serbia. Their mediation and institutional backing often help turn contacts into long-term partnerships and joint initiatives.
We are especially proud of our co-productions with African museums and cultural centres, through which the public gets to see works created as part of shared creative processes. Just this year, we had two exceptional guest appearances: exhibitions at the Parliament of Algeria and at the National Museum of Egyptian Civilisation in Cairo.
Looking ahead, we are planning new international projects and residency programmes that will allow artists and curators to conduct research and create in both Belgrade and Africa – forging the deepest and most authentic connections.
The Museum is well known for its innovative educational workshops and events for children and adults. What are your priorities when it comes to audience engagement, and how do you plan to bring African art closer to new generations?
In addition to exhibitions, we present Africa’s cultural heritage through the Afro Festival, lectures, film screenings, art and music workshops, thematic evenings and concerts. We engage the public through interactive and creative programmes that create a unique experience.
Workshops such as Colours of Africa, public guided tours, programmes for children and high school students, Swahili courses, and initiatives like MAU for Everyone – Everyone to MAU for pensioners ensure that every visitor can participate. We are especially proud of our progress in accessibility for persons with disabilities – with walking paths designed for the blind and visually impaired, as well as tactile replicas and audio guides available to all. After the planned reconstruction, the Museum will truly become a “museum for everyone.”
We also attract new generations through digital channels, including social media, campaigns, and online content. The museum’s attractive setting and garden facilitate participation in urban events, such as the Picnic, which brings fresh energy and attracts a younger audience.
Most recently, we hosted the Disco Travel Experience programme, where over 3,000 visitors enjoyed music, guided tours, workshops, and themed stands representing different continents, simulating a “trip around the world” in one day – all within our garden. This project is a prime example of highly successful cross-sector and public–private cooperation, which, beyond its cultural value, had a strong humanitarian component: raising funds for NURDOR and supporting children battling cancer. The idea of solidarity and collective action for the common good brought together numerous partners, transforming a cultural event into a powerful social message.
Innovative programmes like these – combining education, entertainment and compassion – enhance the museum’s visibility, attract new visitors and build long-term partnerships within the community.
The MAU has a long tradition of cooperation with the embassies and cultural centres of African countries. How intense is this cooperation today, and in what way does it contribute to programme diversity and greater visibility of African art in Serbia?
Cooperation with the embassies and cultural centres of African countries is both long-standing and intensive. It includes donations of objects, visits by artists, lectures, workshops and participation in events such as the Afro Festival. This enriches our programme and allows the audience to explore different African regions and traditions, confirming that African culture is not monolithic but a rich mosaic of voices and perspectives.
We plan to further expand this cooperation through bilateral projects, expert exchanges and exhibition co-productions, to offer the public even more authentic and innovative experiences.
What are the biggest challenges facing a specialised museum institution in Serbia today, and how do you overcome them?
The biggest challenges include financial stability, maintaining buildings and collections, staff shortages, and the need to raise public awareness about the importance of specialised museums. We address these through strengthening institutional capacity, strategic planning and international partnerships that enable expert exchange and the development of new projects. Transparent communication with state institutions, the local community and partners further builds trust and ensures sustainability.
We particularly emphasise education and openness – both among staff and the public. When people understand the value of cultural heritage, support comes naturally. We continually invest in the professional development of our staff, as an open and knowledgeable team is best equipped to share knowledge with visitors. Through a wide range of programmes and workshops, we show that specialised museums have a relevant and vibrant role in the everyday life of the community.
What kind of MAU would you like us to see in five or ten years – in terms of its collection and exhibitions, as well as the role it plays in the cultural life of Belgrade and the region?
Within five to ten years, we aim for the MAU in Belgrade to become a regional hub for contemporary African art and culture, showcasing an innovative, interactive, and dynamic permanent exhibition. We envision a strong international programme, featuring travelling exhibitions that showcase works from Africa, as well as initiatives facilitating direct collaboration with African artists and institutions.
Our goal is for the Museum to be a place where African culture is not only exhibited but lived, reflected upon and inspiring – where visitors experience art as something that connects them to diverse traditions and contemporary creativity. In the cultural life of Belgrade and the region, we want to be recognised as an institution that creates content the audience truly desires, one that unites people and actively contributes to dialogue and education. We want the Museum to remain a true “House of Africa in Belgrade.”