%20--%3e%3csvg%20version='1.1'%20id='Layer_1'%20xmlns='http://www.w3.org/2000/svg'%20xmlns:xlink='http://www.w3.org/1999/xlink'%20x='0px'%20y='0px'%20viewBox='0%200%20100.6%2073.7'%20style='enable-background:new%200%200%20100.6%2073.7;'%20xml:space='preserve'%3e%3cstyle%20type='text/css'%3e%20.st0{fill:%23AF001E;}%20.st1{fill:%23FFFFFF;}%20%3c/style%3e%3cg%3e%3crect%20class='st0'%20width='100.6'%20height='73.7'/%3e%3cpath%20class='st1'%20d='M25.2,36.3l-0.5,2.3c-0.2,0.7-0.2,1-0.2,1.2c0,0.5,0.2,1,0.5,1.6L31.5,53c0.5,0.9,1,1.3,2.3,1.3h5.9%20c0.8,0,1.7-0.5,0.8-1.8l-7.9-13.1c2.7-1.7,5.6-4.1,5.6-9.3c0-6.8-3.8-10.6-12.2-10.6H13.9c-1.1,0-1.4,0.4-1.4,1.5v32%20c0,1.1,0.3,1.5,1.4,1.5h5c1.1,0,1.4-0.4,1.4-1.5V26h5.2c3.3,0,4.8,1.2,4.8,4.2c0,2.8-1.2,3.6-2.5,4.2C26.3,35,25.7,34.3,25.2,36.3z%20'/%3e%3cpath%20class='st1'%20d='M45.9,48.8L45.3,53c-0.1,0.8,0.3,1.1,1,1.2c1.6,0.2,5.5,0.5,9.4,0.5c8.6,0,14.9-2.8,14.9-10.9%20c0-4.7-2.1-8.3-9.2-10.1l-4-1c-2.7-0.7-4-1.6-4-3.6c0-2.8,2.6-3.4,5.1-3.4c3.4,0,6.8,0.3,8.1,0.4c1.4,0.1,1.8-0.1,2-1.2l0.7-4.1%20c0.1-0.8-0.3-1.1-1-1.2c-1.6-0.2-5-0.5-9.4-0.5c-9,0-13.3,3.9-13.3,10.1c0,5.6,3,8.9,8.3,10.3l4,1c3.3,0.9,4.7,1.8,4.7,3.9%20c0,3-2.1,3.6-7.1,3.6c-2.3,0-6.2-0.3-7.6-0.4C46.5,47.4,46.1,47.6,45.9,48.8z'/%3e%3cpath%20class='st1'%20d='M79.4,52.9c0,1.1,0.3,1.5,1.4,1.5h5c1.1,0,1.4-0.4,1.4-1.5v-32c0-1.1-0.3-1.5-1.4-1.5h-5%20c-1.1,0-1.4,0.4-1.4,1.5V52.9z'/%3e%3c/g%3e%3c/svg%3e)
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Giovedì 28 gennaio 2016 alle 09:00
Replica alle 22:35
Lomé (TOGO): Trafficante o commerciante? A seconda degli anni e delle circostanze, il ruolo di Peter Hermann, tedesco sui 60 anni, è cambiato rispetto al fenomeno del commercio di arte africana tradizionale. Nessuno ha stime precise, ma è certo che tantissimi oggetti, per un valore di diversi miliardi di euro, sono stati comprati in Africa e rivenduti in Occidente durante l’ultimo secolo. Il cosiddetto “Traffico d’arte primitiva” nel continente nero è un mercato molto complicato, caratterizzato da diversi lati oscuri e pericolosi. I rischi sono tanti e a tutti i livelli. Alcuni esperti, africani e stranieri, parlano di un patrimonio culturale africano interamente rubato. Altri sostengono invece che si tratti di una compravendita di opere per molti aspetti legale, anche se difficilmente si trovino leggi apposite per regolarla. Dopo oltre 30 anni in questo mestiere, il Signor Hermann e altri conoscitori di tale controversa realtà hanno espresso le loro opinioni.
Il "traffico" d'arte africana tradizionale
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