Didier Claes enters the AKAA show in Paris
Didier Claes, for his first participation in the fair of contemporary art and design dedicated to Africa AKAA, will present the work of the contemporary South African artist Kendell Geers with the exhibition "AniMystikAKtivist". This exhibition is above all a meeting between two worlds, where the past of the African tradition comes to mix with the contemporary scenography. For his second collaboration with the famous Belgium art dealer, Kendell Geers goes beyond the aesthetic and ethical question. With a touch of dark humor, the artist uses his personal experience as a white African and questions the various Afro-European traditions among which animism, alchemy, mysticism, rituals and socio-political activism. A politically engaged work that proposes a dialogue between cultures and peoples. A show to discover as soon as possible at the Carreau du Temple in Paris.
In the vast and culturally diverse Congolese region of Central Africa, masks function as performance objects in rituals, ceremonies, worship, and entertainment. The Virginia Museum of Fine Arts will present an exhibition on this wide-ranging subject titled Congo Masks: Masterpieces from Central Africa. More than 140 striking Congolese masks featured in the show together form an innovative and visually compelling display that represents the artisans and performers who brought them to life, as well as varied communities, belief systems, and natural resources. Dating from the seventeenth to the twentieth centuries, the works are drawn from some of the finest and most comprehensive collections in private hands, and more than a dozen examples are presented with their complete ceremonial ensembles. The exhibition also includes original field photographs, field footage, audio recordings, and a selection of related musical instruments. Its immersive multimedia design, presenting eleven distinct regional styles of masks, evokes the diversity of ecosystems and cultures of the immense Congo. The exhibition is curated by Marc Leo Felix, director of the Congo Basin Art History Research Center in Brussels, Belgium. It is accompanied by a substantial catalog published by Yale University Press with contributions by a variety of notable experts in the field.
The Collection Liliane et Michel Durand-Dessert on sale
On November 14th, De Baecque et Associés will disperse the Liliane and Michel Durand-Dessert Collection. The sale could not better bear his name : "The art of time". The beauty of most of the objects remain to the work of the sculptor and of the time. This collection was partially exhibited in Grenoble in 2004 and at the Monnaie de Paris in 2008. The lots will be exhibited at the Hotel Drouot from Monday 12 to Wednesday 14 November. For more details, do not hesitate to browse the online catalog : http://catalogue.drouot.com/pdf/266/94416/DeBaecque_14112018_bd.pdf?id=94416&cp=266 or to contact the sales expert Pierre Amrouche : + 33 (0) 6 81 89 77 68. The sale will be held in room 5 of the Hotel Drouot (Paris) on November 14 at 2pm.
The Caput Collection on Sale
Afi cionados of African, Oceanic, and Indonesian art will be familiar with the name Patrick Caput. He is an art expert with a keen eye and a reputation for independence who has collaborated with a number of major auction houses. At the same time, he has been an avid collector with a thirst for new objects. He discusses this side of himself in the introduction to Arts d’Afrique. Portrait d’une collection (5 Continents Editions, 2016), a book that pays homage to his taste and sensitivity, honed by the discerning and considered acquisitions he and his wife, Béatrice, have made over the years. Their tireless search for beauty was always accompanied by a quest for meaning. For the Caputs, the true appreciation of a work had to come by way of an intimate understanding of its many dimensions, both of form and use. The importance of the Caputs’ engagement with their collection explains the excitement with which auctioneers Binoche et Giquello have announced the sale of the couple’s entire collection of miniatures, which will be held on November 15, 2018. Statuettes, ornaments, and utilitarian objects, forty works in all, most of which fit into the palm of a hand, will represent some of the finest arts of Africa, Oceania, and Indonesia. The masterful art of the Bembe people from the Democratic Republic of the Congo is represented by a small fi gure, formerly in the Max Pellequer Collection, the gentle forms of which contrast with the intensity of its expression. The sophistication of the art of the Marquesas Islands is powerfully displayed in a five-centimeter-tall ivi po’o toggle previously in the collections of Paul Rupalley, Charles Ratton, and Michel Leveau. The purity of line and the almost sculptural effect of the sacrificial materials that objects from Borneo often evince is clearly apparent in a small Dayak poison container that was formerly in the Marc Pinto Collection. A few larger works will also be featured in the “miniatures” sale. Among these will be one of four known scepters of its kind from the Tshokwe people of Angola and the only one in private hands.
In the MET AOA galleries, Atea: Nature and Divinity in Polynesia will open November 19, 2018. Atea is a Polynesian cosmological term that refers to the moment when it was believed that light first sparked forth, resulting in the birth of the first generation of gods. This exhibition will celebrate the creative ingenuity of Polynesian artists who drew from the natural world to give material expression to their understanding of the divine. Featuring objects from American collections and the Met’s own holdings, the exhibition will showcase some thirty artworks—figural sculpture, painted barkcloth, rare featherwork, and more—dating from the late eighteenth to the nineteenth centuries. The presentation will provide an opportunity to understand a core principle of Pacific art: The divine is not abstract but very much alive in nature. It will be the subject of a Metropolitan Museum of Art Bulletin.
Inca Dress Code
The Musée du Cinquantenaire has ambitious plans for September, when it will open an exhibition devoted to a relatively little-considered yet fundamental form of Pre-Columbian art: the textile. While the colonials sought gold and collectors have coveted sculpture, the Andean peoples of pre-contact times valued above all else the work of weavers and feather artists, who produced beautiful garments and ornaments loaded with iconographic symbols. Mummies were adorned with them, figures were dressed in them, and meticulous care was taken in the choice of their colors and designs, as well as in the details of their manufacture. The Inca Dress Code exhibition examines all aspects of this art form, from the choice of raw materials to the perseverance of these traditions over time, and it explains the significance of various designs while providing a chronological and historical account of the less well-known Andean peoples, who preceded the famous Inca. From November 23, 2018, through March 24, 2019, nearly two hundred objects from some of the greatest collections will be brought together for this event. In addition to those from the Musée du Cinquantenaire’s own holdings, works on view will include many major pieces from the Musée du Quai Branly – Jacques Chirac, the Linden-Museum in Stuttgart, and the MAS in Antwerp.
Geometries South @ Paris' Fondation Cartier
The Fondation Cartier for Contemporary Art focuses this season on South America and Latin American art. The Parisian institution is working, with its new exhibition "Geometries South: from Mexico to Tierra del Fuego" to exhibit this art in full expansion. Stylized geometric motifs from Tiawanahu cultures, weaving traditions woven with steel wire, colorful intertwined Aymara peoples, architectures inspired by ethnographic photographs of Mayan sites or Macchu Pichu ... the works create a constant dialogue between ancient art and contemporary art , scholarly art and folk art, whose references are to be sought among the pre-Cortesian peoples. Intended to identify the sources drawn by these artists both in pre-Columbian art and in the craftsmanship of today's indigenous communities, the exhibition traces a pathway between periods, cultures and arts.
Exposition historique présentée au Honolulu Museum of Art, Ho‘oulu: The King Kalakaua Era s’intéresse à l’art et à l’expérimentation à Hawaï sous le règne du roi David Kalakaua (1874-1891). Ancré dans les valeurs du royaume, le cosmopolitisme – concept selon lequel les entités politiques locales s’inscrivent dans la communauté mondiale, et non dans leur seule partie d’origine – se traduisait notamment dans l’art. Les Hawaïens ont développé un langage visuel mêlant art et politique, caractérisé par des reproductions locales d’expressions artistiques mondiales. Ils ont renforcé une culture visuelle existante au moyen d’une combinaison de matériaux, concepts et techniques indigènes et venus d’ailleurs. L’exposition présente des oeuvres d’art expérimentales aux côtés d’oeuvres académiques afin d’analyser comment l’art d’avant-garde et l’art classique ont contribué à façonner une identité nationale. Composés par des pièces du musée et de nombreux prêts, elle soulève en outre des questions liées à l’adaptabilité, à l’économie et à la vie religieuse tout en se penchant sur la perception que l’on avait d’Hawaï dans le monde au XIXe siècle. L’exposition est accompagnée d’un superbe catalogue et d’une série d’événements organisés par la PA‘I Foundation.