A problematic legacy

The four sculptures (boy on a toad, boy on a tortoise, boy on a snail andboy on a fish) were created by the artist Willi Münch-Khe. They represent Africa, Asia, Europe and America. This kind of personification of the continents has a long tradition and is characterised by an often-stereotypical perspective on non-European cultures and their supposed attributes, which can be viewed critically these days. On this topic Willi Münch-Khe came up with a very unique interpretation. Children ride on animals, making music at the same time. The musical instruments (saxophone, accordion, horn and conch shell) do not symbolise these continents, nor are the animals their typical representatives. Instead, they seem to be adapted to the original locations in the zoo, with its wet and humid environment, where toad, tortoise, snail and fish feel at home. With this concept, the artist did not follow traditional trends, but followed a more individual idea with originality and atmosphere. His non-critical view of colonial and racist representations is a testimony of that era with its colonial history, which can be used to address the issue of racism in the present day.

The artist Willi Münch-Khe was born in Karlsruhe in 1885. He trained as a glass painter and studied at the Karlsruhe Art Academy, where he was also a master student of Hans Thoma. Initially working as an etcher and painter, he received commissions for ceramic works of art for the Grand Ducal Majolica Manufactory in Karlsruhe from 1911. Back in 1912, Münch-Khe was appointed to the Royal Porcelain Manufactory in Meissen. In 1914 he moved near to Leipzig, and then to Lake Constance in 1919, only to return to Leipzig again in 1930. In the late 1920s, Münch-Khe began to create large sculptures in various ceramic materials for the Meissen, Karlsruhe, Rosenthal and Villeroy & Boch manufactories.

He had a particular fondness for animal sculptures, for which he enjoyed spending a lot of time observing the animals in zoological gardens. The artist's political stance is reflected in his early membership of the NSDAP, which he joined in 1931. He moved to Berlin in 1934, and from 1939 he ran his own workshop on Lake Constance. Shortly after the Second World War, Münch-Khe was labelled a "collaborator" in the course of denazification, before retiring to Argentina from 1949 to 1953. When he returned to Germany, he settled in Karlsruhe. Right up until his death in 1960, he received commissions for designs from the Meissen, Villeroy & Boch and Hutschenreuther manufactories.

The 1930s

Zoo Leipzig, founded in 1878, underwent major expansion and renovation work between 1920 and 1935. At the end of this phase, the sculptures by Willi Münch-Khe were installed. It is interesting to note that in addition to the four sculptures erected here in the Rose Garden today, there are two more. These were erected at the pond for ornamental ducks in 1933. In terms of design, they are identical to the sculptures: boy on a fish and boy on a snail. However, they differ in the way in which they were made, as they were made using the majolica technique and glazed in a variety of colours. The set of four sculptures made of dark clay was first set up between the carnivore house and the aquarium in 1935, surrounding a square water basin there. The two majolica sculptures were moved there from the pond for ornamental ducks for the opening of the animal kindergarten in 1935.

The 1960s and 1970s

Visits to Zoo Leipzig continued to be very popular. In addition to maintaining animal welfare and the various facilities, plans for extensions, conversions and new buildings were designed and realised. For example, the extension of the former gibbon enclosure was completed in 1967. The sculptures of the four continents by Münch-Khe in this area were finally moved from there in 1974 and joined the two other sculptures in front of the animal kindergarten. Since then, numerous children have enjoyed riding on them, with them appearing in countless family photos.

The years 2018 to 2023

Since the year 2000, the zoo has been striving to become a zoo of the future. However, the renovation work that this entailed did not just mean that the six sculptures had to be relocated again. In fact, after being dismantled in 2018, they were professionally and comprehensively restored for the first time.

Their condition was very fragile at the time. The glazes were chipped, cracked and flaking and some parts were also missing. Today, the sculptures are well preserved thanks to restoration efforts, with lost pieces also having been replaced. For their new installation, they were reorganised into their original constellation. The set of four (dated 1934), which once stood in the herb garden, is now in the rose garden. The other set with the two more colourful sculptures (dated 1931) can be found in the vestibule of the Ark Discovery House. The sculptures created for Zoo Leipzig should be preserved as art heritage and an expression of their time. However, a non-critical approach to these once popular photo motifs is no longer possible today. The city and the zoo are aware of their responsibility to reject colonialist defamation in any form. The set of figures will therefore not be removed, but kept on display for critical debate on the topic.