Pigalle 1930 – Revisiting a Mythical Exhibition
During the seventeenth Parcours des Mondes, Tribal Art magazine’s editors once again extend an invitation to you to come visit our annual show at the Espace Tribal, 22 rue Visconti. This year, the location will host an sensational exhibition curated by Charles Wesley-Hourdé and Nicolas Rolland titled "Pigalle 1930, retour sur une exposition mythique" (Pigalle 1930 – Revisiting a Mythical Exhibition). Both dealers and researchers with specialties in the arts of Africa and Oceania, the show’s two organizers are also the editors of the publication "Galerie Pigalle: Afrique – Océanie. Une exposition mythique". In the course of putting together this retrospective book, they were able to trace the histories of a significant number of the artworks that were displayed in this historic exhibition. Using this information, Hourdé and Rolland created this exhibition, which brings together some thirty objects that were part of the 1930 show and are now in private collections. These will be presented in conjunction with photographs and other documentation and will provide an opportunity to better understand the role and involvement of charismatic individuals like Charles Ratton, Tristan Tzara, Pablo Picasso, and André Derain in the organization of an exhibition that has become truly legendary today.
Siberia and beyond
The new exhibition of Martin Doustar's gallery offers an overview of the Russian Far East and is an opportunity to experience the indigenous peoples of Siberia and their ancestral shamanic traditions through a remarkable group of marine ivory sculptures from the coastal regions of the Bering Sea and bronze objects from Western Siberia. A show to discover during the next Parcours des mondes edition, in Paris in September, where the gallery will exhibit at 4, rue des Beaux-Arts.
Un masque Dan et plus
For the seventeenth edition of Parcours des Mondes, Bernard Dulon chose to devote in his gallery an exhibition to the masks of the Dan people. It brings together a remarkable selection of artworks, including the famous racing mask of the Rasmussen collection, kept in private collection since 1979. Considered as the culmination of the Dan aesthetic, this masterpiece executed in the nineteenth century, represents the embodiment of the beauty Dan. This so-called "black diamond" remains to this day a reference for this type of objects. On this occasion, the historian Bertrand Goy, member of the Africanist society, signs an aesthetic essay dedicated to this matter.
Out of the Box
Since its reopening, the Weltmuseum in Vienna has taken a modern and progressive approach with its exhibitions, placing it squarely within a contemporary trend that favors showing objects from different places and periods side by side. In an effort to integrate visitors into internal museum processes, to share experiences, and to involve their audiences in the observation and analysis of specifi c objects, museums have been turning increasingly toward new and refreshing ways of creating connections. Out of the Box, which will be on view through September 18, 2018, is a good example of this kind of show. More than just a group of objects, it strives to emphasize the connections between populations and their artifacts that share a common history of individual and unique migrations. Each of the many participants in this exhibition was invited to choose an object that echoes his or her heritage—or cultural baggage. The object thus becomes a player in a very real story that is not always unique to just one individual. It becomes the receptacle for a dialog, a path, a life, and for human emotions, and it serves as a reminder that a major purpose of a curator’s work must be to retrace the archaeological and ethnographic trajectory of an object. Is there a more effective way to draw a work of art directly into the heartof our lives?
Idoles et Créatures mythiques
For its Parcours des Mondes debut, Galerie Kevorkian will produce an exhibition that will be held at two venues—its own permanent space at 21 Quai Malaquais, Paris, where it will remain on view through September 29, and at nearby Galerie Meyer for the duration of the Parcours des Mondes. The artworks presented will be vehicles that take the show’s visitors from the shores of the Danube to those of the Indus River and from the Neolithic Period to the nineteenth century. The exhibition will also highlight an important French collection of Eastern archaeological objects, which includes especially noteworthy examples of Luristan bronze objects, assembled with patience and passion over the course of several decades. The gallery has now acquired it in its entirety and it will be featured prominently in this exhibition.
Supranatural – Crânes, Squelettes, Fantômes et Démons
Resonating with the exhibition Fantômes d’Asie at the Musée du Quai Branly – Jacques Chirac, Mingei Japanese Arts will present a thematic exhibition titled Supernatural, which will be accompanied by a catalog published in the Japanese style and featuring contributions by prestigious authors: Christophe Marquet – Director of the Ecole Française d’Extrême-Orient (EFEO)–, Alain Briot – Physician and member of the Société Asiatique (Institut de France)–, Kei Osawa – University of Tokyo.
The Little Explorer's Box of Delights
The Musée du Quai Branly – Jacques Chirac specializes in examining different perspectives. After Aztec Hotel, which focused on the America-mania surrounding Pre-Columbian cultures, Le Magasin des petits explorateurs (the Little Explorer’s Box of Delights) now looks at the ways in which distant cultures were represented and portrayed in France in publications intended for children. On view through October 7, the exhibition serves as an extension of Paintings from Afar, which we presented in last issue’s Portfolio, except it’s for kids. Great authors and romantic painters were fascinated by the Aztec, Maya, Native Americans, Africans, and Japanese Samurai. Impressionable children react to these fascinating and distant worlds in particular ways, and children’s literature may offer the best explanation as to why. Jules Verne, Robinson Crusoe and Friday, and Captain Nemo, among many others, have been an important part of many a childhood. Were these paper heroes the fruit of fertile imaginations, hostile and savage jungles, and visions of the adventurers’ heroism? Or were they faithful and neutral representations— if a bit embellished—of the peoples by whom they were inspired? Such stereotypes are injected into the worldview of young generations, as the nostalgia of adults fi nds its way into the adventure stories intended for children. The objects, books, magazines, and catalogs presented in this exhibition, which was curated by Roger Boulay, eloquently support this point.
Sale of the Elizabeth Pryce Collection @ Sotheby's Paris
Sotheby's Paris will be holding two special sales in October. The first will be on October 10, 2018, and will be composed of eighty-five objects from the collection of Elizabeth Pryce. It includes major works such as a Biwat fl ute stopper from Papua New Guinea, an artwork that is an extraordinary blend of power and refi nement. Pryce’s selections also reveal her special affi nity for elegantly executed objects of everyday life, including headrests, combs, and lime spatulas. The sale will be unusual in that it will be entirely Oceanic and also for the fact that the objects will be offered without reserve. Main lots will be exhibited at Sotheby's Paris from September 10 to 15.
Opening of Guilhem Montagut's new Gallery
On September 27, 2018, the city of Barcelona will add a new African art gallery to its vibrant arts scene, and it will be one with public hours and street frontage. The person behind this project is Guilhem Montagut, who, after his many years at his space on Boulevard dels Antiquaris on the Passeig de Gràcia in Barcelona, has decided to provide his clients with a gallery that is commensurate both with the growth he hopes to achieve and his high standards in artworks and display. The new space is at 163 Carrer de Pau Claris, just a few hundred meters from Gaudi’s famous modernist Pedrera building. The inaugural exhibition will be a juxtaposition of classical African pieces with a selection of photographs by Dutch artist Ingrid Baars, the author of works that are rich in references to traditional cult objects which she combines with images of real women.
The Art of beads in Africa - The Mottas collection
Used for exchange and trade, as a covering for statues, as body ornaments for both men and women, or on figures with sacred charges, beads in Africa have many denominations and many symbolic meanings. They were originally produced in Europe for the African market—in other words, for trade—and in this sense they serve as a reminder of a colonial past. But beads were quickly appropriated by African artists and became an integral part of their works, even if they did derive from a foreign continent. Their colors and vivacity made them immediately attractive and popular, but it is too often forgotten that those colors are actually indicators of a complex code of identity. Beads carry messages about the age, gender, and status of the people that wear them—all messages that this exhibition deciphers and explains. Beads have had many and varied uses: They appear on royal Bamileke fi gures and on the necklaces or bracelets of fetish fi gures, as well as on more mundane and everyday objects such as ornaments and jewelry produced by African craftspeople. Beads have been a vector of globalization visible on the panoply of objects of which they are part. The flexibility of their use is illustrated through the juxtaposition of traditional beaded objects that recently came to the Rietberg Museum from the collection of François Mottas—a passionate collector who assembled over 400 African artworks with detailed documentation—with contemporary objects, such as a planisphere of worldwide commercial routes created entirely with beads by artists Anna Richerby and Laurence Kapinga Tshimpaka. The exhibition which will be open from June 7 until October 21, 2018, makes a special effort to honor the work of female artists, too long ignored in the history of the African continent’s art despite their long having been such an important creative force there.