parcours des mondes 2014 press pack

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Agence Colonnes

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Press pack

LEADING INTERNATIONAL

TRIBAL ART FAIRTRIBAL ART FAIR 2O14PARIS, SAINT-GERMAIN-DES-PRÉS

PARCOURS DES MONDES

9 - 14 SEPTEMBERParis, Saint-Germain-des-Prés

Pdm14 couv DP EN.indd 1Pdm14 couv DP EN.indd 1 03/06/14 11:4003/06/14 11:40

Press relations : Agence Colonnes _ Claire Galimard _ Lara Fatimi _ +33 1 42 60 70 10 _ [email protected] www.parcours-des-mondes.com

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Editorial _______________________________________________________________

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Honorary President ______________________________________________________ p 3

Events ________________________________________________________________

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Exhibitors’ Viewpoints: Three questions put to Anthony J.P. Meyer and Frédéric Rond (Indian Heritage) ______

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Thematic exhibitions _____________________________________________________

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Images _ Africa _________________________________________________________

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Images _ Americas ______________________________________________________

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Images _ Asia __________________________________________________________

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Images _ Archeology & Contemporary _______________________________________

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Images _ Oceania _______________________________________________________

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List of Exhibitors ________________________________________________________

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Practical Information _____________________________________________________

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Partners _______________________________________________________________

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PRESS PACK EDITORIAL


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SALON INTERNATIONAL DES ARTS PREMIERS

PARCOURS DES MONDES 9-14 SEPTEMBER. PARIS, SAINT-GERMAIN-DES-PRÉS

13T H EDIT ION OF PARCOURS DES MONDES _ FROM 9TH TO 14TH SEPTEMBER 2014 A RESOLUTELY INTERNATIONAL EXTRAMURAL ART FAIR WHERE THE TR IBAL ARTS ARE

HONOURED IN ALL THEIR DIVERSITY Considered by collectors from the whole world as the most important event in its speciality, Parcours des mondes this year presents 68 exhibitors, half of them coming from abroad. A true key moment for all who appreciate tribal arts, this gathering is hosting nine of the foremost American art dealers, including the galleries of Thomas Murray, Michael Evans, Jacaranda and Donald Ellis. In less than fifteen years, Parcours des mondes has forged itself a position as an essential event with a reputation that has spread well beyond the frontiers of France, and one that is ruled by three essential criteria: high standards, expertise and authenticity. If there is one domain in which Paris is leader on the international market, it is that of tribal arts. As of the first hours of the opening, art lovers and curators from the world’s leading museums roam the streets of the 6th arrondissement, from one gallery to the next, seeking that unique item to complete their collection. Paris is not only leader, but was also precursor of the enthusiasm for these arts referred to as “primitive”, thanks to the numerous artists who, from the beginning of the 20th century, recognised their true status as art and an endless source of inspiration. Vlaminck, Breton, Eluard, Picasso, Derain and Matisse were all collectors, particularly of African art, thus leaving a decisive mark in the history of modern art. Now Parcours des mondes is the most awaited rendezvous where the biggest transactions are made for rare items preciously saved for the occasion. DIVERSITY SYNONYMOUS WITH OPENNESS For a long time identified as an event mostly oriented towards African art, Parcours des mondes can now boast of its diversity. Tribal arts are explored here in all their forms and across all continents: the arts of Africa have of course the place of honour but Parcours des mondes also provides a noteworthy plunge into the arts of Asia and Oceania — whose importance is growing in the hearts of collectors — arts from the Americas, especially North America, celebrated until 20 July at the Quai Branly Museum with the exhibition “Plains Indians”, as well as broad incursions into less well-known domains such as the arts of the Himalayas, Indonesia or India, or else of textiles. Also to be noted is a clear and finally quite natural openness to Archeology in the form of classical, Egyptian and Near East antiquities, among the most ancient testimonies to mankind’s creative genius. Nine new young art dealers have joined this 13th edition: the American Berz Gallery of African Art and Brant Mackley Gallery (ancient art from North America), the British Jonathan Hope (rare textiles, tribal art), and French dealers from various horizons: Martin Doustar (archaeology, ethnography), L’Etoile d’Ishtar (archaeology), David Ghezelbash (archaeology), Indian Heritage (art from India and the Himalayas), Renaud Montméat Arts of Asia (India, China, South-East Asia, the Himalayas), and Galerie Pablo Touchaleaume (tribal arts, archaeology, arts from Asia). FOCUS ON THE EXHIB IT IONS WITHIN PARCOURS DES MONDES 2014 The international dimension and the geographic, temporal and aesthetic diversity of the works are not the only assets of Parcours des mondes. The other strong point of the event resides in the programme of carefully documented exhibitions presented by the galleries. True keys to understanding, these provide the public with the chance to more comfortably establish contact with tribal arts. This year, there are no less than thirty-seven extremely diverse thematic exhibitions to be discovered, such as: Animal (Galerie Jacques Germain) examining the place of the animal theme in the material culture of black Africa; The Magic Art (Galerie Olivier Larroque), an exhibition in homage to the works of André Breton concerned with African art as medium of magical power; Black and White (Dandrieu-Giovagnoni), where twenty ancient sculptures from Gabon, the Ivory Coast and Mali emphasise the contrast between light and shade; Golgotha, Looking to Ancestors (Martin Doustar), bringing together an exceptional collection of skulls and reliquaries from Oceania, Africa and pre-Columbian America, veritable reflection on the relationship to death in tribal societies; Portraits & Finery from the Solomon Islands (Michael Evans Tribal Art), a magnificent array of 19th century photographs together with a collection of jewellery and finery; and also UTARI, the Ainous, Aboriginal People of Japan, Collection of Joseph G. Gerena (Patrick and Ondine Mestdagh). See page 7 for the complete, detailed programme of exhibitions.

68 galleries with 2 book shops

� 34 France � 10 Belgium � 10 USA � 3 UK � 3 Spain � 2 Italy � 1 Australia � 1 Canada � 1 Netherlands � 1 Switzerland

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HONORARY PRES IDENT


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ANTOINE FRÉROT, HONORARY PRESIDENT OF THIS PARCOURS DES MONDES Antoine Frérot is Chief Executive of Veolia Environment.

Interview by Elena Martínez-Jacquet. Before discussing what Parcours des Mondes means to you, may I ask how you first became interested in tribal art? Antoine Frérot : Like many enthusiasts, I discovered tribal art through modern painting and sculpture; in other words through its forms. Gradually, as I became more familiar with these objects, this attraction to form changed to an appreciation of the powerful presence of these works. I feel this presence today with more intensity than I do with modern art works. I am sometimes tempted to speak to them, which has never been the case with a painting. The intensity of this presence is undoubtedly due to their metaphysical nature. As though they reflect the famous philosophical question, “why is there

something rather than nothing?” tribal artworks have a dimension that goes far beyond questions of form. Clearly this is a subject you think deeply about, which must be time consuming. Given how extremely busy you are, how much time do you have to devote to your passion for art and where do tribal art and Parcours des Mondes fit in? Antoine Frérot : It’s true that my professional life does not leave me much time. Nevertheless, I do still have time for my hobbies, art being the main one. As for Parcours, I always look forward to it eagerly. It is without doubt the finest show in the world in this field. It is clearly the one for which the dealers keep the best pieces that they have collected during the course of the year. The strength of Parcours definitely comes from the high standards of quality that the dealers impose on themselves, spurring each other on and guaranteeing exciting new discoveries for the art lover. Alongside this, the fair’s success also owes much to the wide range of art forms it covers—and which grows bigger every year. The addition last year of Native American art exemplifies this, as does the introduction of archaeological material in the 2014 show. The 2014 Parcours fair you’re referring to is the thirteenth to date. What are your expectations of it? And what does it mean to you to be honorary president? Antoine Frérot : I expect some surprises from the most magical pieces at Parcours and also some intriguing, enticing discoveries from the new fields I mentioned. It was at Parcours that I discovered the art of Sumatra, about which I previously knew very little. I hope to repeat the experience in another area. To answer your second question, as an art lover rather than a specialist, I hesitated at first to accept the invitation from Pierre Moos, the fair’s director. But in the end I decided that it was art lovers like myself that Parcours seeks to attract in greater numbers every year and to arouse in an interest and then a passion for tribal art. I want them, as I have done, to take from these works the means to deepen and enrich their lives. Finally, what do you see the future of the tribal art market to be? Some have suggested that it may be reaching its peak. Antoine Frérot : I don’t believe that to be the case. In terms of audience, the number of enthusiasts continues to grow, as it is still a little-known field. Given the circumstance, it would be surprising if prices did not continue to rise. The amounts paid for major pieces of tribal art are still significantly below those for modern art, yet the artworks evoke just as much emotion and are just as much a testiment to human genius. I subscribe to the view that tribal art will occupy an increasing space in everyone’s “imaginary gallery,” a gallery for which Parcours des Mondes each year continues to provide an exceptional temporary exhibition.

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EVENTS


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Events PERCEPT IONS OF THE SALOMON ISLANDS Wednesday, September 10 ⎜ 9:30am – 11am ⎜ Alcazar Held in partnership with the Société des amis du quai Branly. Magali Mélandri, curator of the Oceanic collection at the Musée du Quai Branly and curator of the exhibition L’éclat des Ombres: l’Art en Noir et Blanc des Iles Salomon; Jean-François Schmitt, collector; and Anthony Meyer, dealer; will discuss their impressions of two pieces that will presented in the above-mentioned exhibition, which will be on view at the Musée du Quai Branly, November 18, 2014 – February 1, 2015. CAFÉ TRIBAL Born of the desire by the Parcours des Mondes organization to promote interaction at different levels between the visitors of the fair and prominent figures in the tribal art world, Café Tribal will be organized in collaboration with Tribal Art magazine and hosted by editor Elena Martinez-Jacquet with different speakers at each meeting. In this first Café Tribal, which coincides with the celebration of the 20th anniversary of Tribal Art magazine, the three sessions will look at publishing in the field of tribal art—features, trends, perspectives… Thursday September 11 ⎜ 10am – 11am ⎜ Alcazar - The Book as Warrant for Memory: Publications Against Oblivion of the Fondation Culturelle Musée Barbier-Mueller. With Laurence Mattet, director of the Fondation Culturelle Musée Barbier-Mueller, and Pascale-Marie Milan and Stéphane Barelli, authors of the two upcoming publications for the Fondation Culturelle Musée Barbier-Mueller. Friday September 12 ⎜ 10am – 11am ⎜ Alcazar Strengths and Weakness of Self Publishing: The Example of Premiers Regards Sur la Sculpture de Cöte d’Ivoire, winner of The 2013 International Tribal Art Book Prize. With Christophe de Fabry, Galerie Schoffel de Fabry and editor of the gallery’s publications, and Bertrand Goy, independent researcher and author of numerous titles on tribal art. Saturday September 13 ⎜ 10am – 11am ⎜ Alcazar - Transmission: Experiences, Knowledge, and Crossed Perspectives in the creation of Tribal Art Books With Éric Ghysels, publisher of 5 Continents Éditions, and Hughes Dubois, art director and photographer. ZAHOULI MASK PERFORMANCE Saturday September 13 ⎜ 4pm and 5:30pm ⎜ Parcours area This colorful, 20-minute performance about the symbolism of Zahouli masking will be presented by the Diépa Dance Company. The focus of the show is the Zahouli mask, which is decorated with bright colors and is typical of the Guro people, who live in western Côte d’Ivoire. This secular mask is danced exclusively by men. Its main function is to increase the productivity of the village but the celebration dances in which it appears are also an opportunity to strengthen solidarity between lineages and clans. The Zahouli mask is also danced during festivals and funerals. The Zahouli dance is spectacular for its rapidity, yet it is also one of the most graceful of any in Côte d’Ivoire. Zahouli is a goddess of beauty and songs in her honor relate the story of a challenge by a snake to a bird. Her dance honors the beauty of women.

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EXHIB I TORS’ V IEWPOINTS


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EXHIB ITORS’ V IEWPOINTS: THREE QUESTIONS PUT TO ANTHONY J.P. MEYER AND FRÉDÉRIC ROND (INDIAN HERITAGE) Can we speak of a growing passion for tribal arts over the past ten years? Anthony J.P. Meyer: Yes, of course. Since the beginning of the 20th century, art dealers have contributed more than any others to shaping the taste and knowledge of art lovers. A hundred years later, at the very start of the 21st century, the creation of the Quai Branly Museum, desired by President Jacques Chirac — this great museum of “Art Premier” to use the "politically correct" term that prevailed at the time — boosted enthusiasm for tribal arts. For collectors and institutions around the world, the fact that a public personality such as Mr Chirac should reveal his own interest for these arts from Africa, Oceania, the Americas and other "extra-European" regions, set off a process of learning, appreciation and purchase. Since then, we see among collectors of contemporary art, or art of the “Haute Epoque” or “Grand Goût Français” some major and minor works acquired from tribal arts dealers of Paris, New York, Brussels and elsewhere. Institutional exhibitions are ever increasing, while museums and foundations organise and prepare events that are either based solely around tribal art, or in juxtaposing this with modern and contemporary artistic movements, or even more classic and ancient ones. Prices have of course followed this curve of increasing interest and the million euro threshold is nowadays regularly reached and sometimes even largely exceeded. With regard to these high price, it has to be said that the most active and attractive market remains within an average of 5,000 to 500,000 euros and that it is within this very broad range of prices that can be found through art dealers some superb, well-documented and buyable works, those best able to satisfy the desire of the collector. Frédéric Rond (Indian Heritage): As regards the Himalayan tribal arts that I am interested in, it is quite certain that there is real enthusiasm and this has been growing steadily over the last ten years. The first items brought to the West at the beginning of the 20th century by explorers such as Jacques Bacot or Sven Hedin were insufficient in number to exist alongside the African and Oceanic arts abundantly represented at the time and, as a result, they were not promoted to the rank of inspiring muses by Picasso or Breton. It was only from the time of the opening of the borders of Nepal in 1951 and its attachment as a route to India and Tibet ten years later that the first substantial collections of primitive (and classical) objects were to come to light. The Tibetan exodus, the birth of the Hippie movement, as well as the considerable modernisation of Nepal were to fuel commercial exchange between western visitors and the local populations. At the end of the 1980s, mainly in the United States and France, came the first major exhibitions dedicated to Himalayan tribal arts, exhibitions that also presented, to an extent that was not negligible, so-called “classical” masks (used in Buddhist or Hindu contexts). It seems that we have now come to the end of a cycle, the corpus of ancient primitive Himalayan objects having become almost obsolete in-situ, with some Westerners even selling back to dealers in Kathmandu objects that they had bought from them in the past! Far from being negative, this turning point on the contrary promises to valorise these objects as it will from now on be known from which quantitative and qualitative group source future collections may be constituted. The relatively recent boom of enthusiasm for this art has meant that a quite broad range of art lovers have been able to acquire, and still can, some major pieces that are often up to 300 years old. Recent publications and exhibitions dedicated to this subject (donation of Marc Petit at the Quai Branly Museum, etc.) as well as others, including a considerable group of primitive Nepalese pieces such as those presented at the Louvre museum by Bob Wilson last February in the context of his exhibition "Living Rooms", underline the growing interest in Himalayan tribal arts. Himalayan tribal arts are developing and remain to be discovered.

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EXHIB I TORS’ V IEWPOINTS


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What are collectors looking for when buying a work of tribal art? Anthony J.P. Meyer: Among my customers I see a mostly intuitive reaction when faced with the work. A piece attracts their eye and triggers a decisive emotional impact. From the moment the price, the buyer’s means and the discussion entered into with the dealer converge, the collector most often leaves with the item. The collector of the old days — one who typically sought to complete groups — could be said to exist no more. These days, art lovers seek a visual and emotional shock, backed by the absolute quality of the piece. Most buyers are interested in a broad range of styles, regions and sorts, thus creating mixes and assemblages of works that match the particularity of their taste. Frédéric Rond (Indian Heritage): I think they look for a piece that touches their heart, without passing by the intellect. These primitive Himalayan objects, going to the essential, exempt from ideals and other forms of conditioning, have in common with certain contemporary artistic approaches the fact that they are not linked to a context. They touch the universal and can realise their full potential wherever they are exhibited. Because little is yet known about them and because there is very little stereotyping of them, contemplating any of these primitive Himalayan objects amounts to an encounter with the unknown, a meeting that is often overwhelming and leads to the desire to know more about them. Which object has most marked your career as art dealer? Anthony J.P. Meyer: It would be impossible for me to mention only one object — there are hundreds of them, because each work speaks to me in "its way". I buy every piece of my stock because I want it — I need it, even a little 1000 euro lime spatula moves me — I act like a collector before all else. It is not the size, historical importance, market value or "visual force" of the piece that particularly touches me — it a more of a quite indescribable overall effect that the work provokes in me, that catches my attention, intrigues and touches me. I am even more touched or impressed by works that I cannot attain because they are in museums. I have just come back from Germany, where I saw in a missionary museum a — or should I say "the" — great figure from the Bay of Astrolabe. That was a beautiful encounter… and a feeling of desire that has lasted ever since!

Frédéric Rond (Indian Heritage): This object is a mask of Panjurli (divinity with the head of a wild boar) in bronze, a Bhutan mask, originating from Karnataka, and which ended up in the shop of a Sikh scrap merchant in one of the winding alleys behind the great mosque of Old Delhi. This encounter was striking as it was the first time I found myself faced with an object that was resolutely primitive in the brutality of its expression, but that had been produced using a know-how and precision worthy of the finest Swiss watchmakers! Somewhat in the image of Himalayan tribal art, these objects out of any official religious context have long been neglected by academics, but now, thanks to the economic emergence of the sub-continent, important native collections are being uncovered and progressively shedding light on the cult associated with them

PRESS PACK THEMATIC EXHIBITIONS


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ON THE PROGRAMME, THIRTY-SEVEN THEMATIC EXHIB IT IONS This non-exhaustive list may be subject to modifications. — ADAM, Analog-Digital-Ancient Masters — From Arte y Ritual, Madrid, exhibiting at the Gallery Crous _ 11 rue des Beaux-Arts

Presentation of the book ADAM, together with a virtual visit and a second exhibition the last finds of ancient masterpieces from Africa, the Pacific and America. — Mythical Ancestors — From Jonathan Hope, London, exhibiting at 17 rue des Beaux-Arts

Figures of ancestors from South and South-East Asia dominate the exhibition, notably with textiles from Indonesia, Cambodia and India.

One of the most outstanding handmade textiles comes from Batik in central Java, and was designed at the beginning of the 20th century for the European market. Nevertheless, the material, technique and subject are intrinsically Javanese. The design is particularly refined and detailed. The characters of the Ramayana and Mahabharata legends are represented in the style of the puppets used in the traditional Wayang Kulit shadow theatre. The organic dye is delicately crowned with Perada gold leaf.

— Animal — From Galerie Jacques Germain, Montreal, exhibiting at 2 rue des Beaux-Arts

In traditional African thinking, animals often interact with the spirit world and the human world. Generally, they may be represented to evoke certain qualities deserving emphasis, such as strength or craftiness, which does not exclude them being used to attest to the presence of a water genie or testifying to a sovereign’s ability to manifest themselves at a distance. While the modelling of these objects may vary between strict naturalism and a style that comes down to a few simplified shapes, animal art can also incorporate imaginative or even disturbing aspects, particularities that could be emphasised during night-time performances.

In regions of the continent that were strongly marked in the domain of fine arts, the artist could be faced with the additional challenge of giving some form of material attachment to creatures whose unfathomable nature required the fusion of various zoomorphic aspects, sometimes enriched with borrowings from the human register. In the context of the 2014 edition of Parcours des mondes, the Jacques Germain gallery has put together a body of works reflecting the key place that the animal theme occupies in the material culture of black Africa.

An eponymous catalogue accompanies the exhibition.

— Art of India, the Himalayas and South-East Asia — From Renaud Montméat Arts of Asia, Paris, exhibiting at 49 rue de Seine

Dedicated to sculpture and painting from India, the Himalayas and South-East Asia, the exhibition pays particular interest to Buddhist art of the Pala period (North-East India between the 8th and 12th centuries) and its influence on bordering countries. A catalogue accompanies the exhibition.



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— Magical Art — From Galerie Olivier Larroque, Nimes, exhibiting at 2 rue de l'Echaudé

Homage to the work of André Breton, the exhibition in the gallery basement looks into African art as a medium of magical power, including powers of alienation, divination, protection and healing. Dominated by a rare collection of objects from the former Dahomey (Fon), it also features works from Ivory Coast, Congo, Mali, Tanzania and Nigeria. Sacrificial material, relics, truly surrealistic amalgams of objects of varied appearance, detailed esoteric symbols or pure forms on the limits of the abstract, this exhibition presents a troubling journey through this “magic art” which Breton said might “solve the enigma of the world”. — Senufo Art— From Galerie Olivier Castellano, Paris, 34 rue Mazarine

From the secret sculptures of Poro to statues linked to divination, from the severity of the sculptures from the south of Mali to the gentleness of those from central Ivory Coast, the exhibition presents a wide panorama of the various expressions and styles of Senufo art.

An eponymous catalogue accompanies the exhibition. — Baining Tapas — From Kevin Conru, London / Brussels, exhibiting at 10 rue des Beaux-Arts

Art from the Pacific island of New Britain is the most ephemeral of that from Oceania. Made solely for a precise moment, steeped in the spiritual world, the objects were used once only, then hidden or ritually burned. Very few of them have survived. This remarkable group of textiles from the Baining people has however survived, remaining intact and in perfect condition. Collected by the German explorer Harting in 1900, these masks and banners were hidden, unknown and out of sight. They represent one of the most elegant traditions of Oceanic art and are presented by Kevin Conru during the Parcours. — Bateke: “The Fetishes” — From Galerie Abla et Alain Lecomte, Paris, 21 rue Guénégaud

This year Abla and Alain Lecomte are pleased to present the second part of the Bateke collection of Raoul Lehuard, (prolific author of an impressive collection of books on the Bakongo group, and creator of the famous magazine “Arts d'Afrique Noire”). This collection was in part put together by Robert Lehuard (Raoul Lehuard’s father), stationed in Congo-Brazzaville from 1924 to 1933. These pieces are important, not for their size, but for the quality they give off. This collection of Bateke ''fetishes'', which is also important historically, has always remained in the Lehuard home and never before been exhibited.

Also to be noted is the presence of the Cuban-American artist Jose Bedia, whose paintings inspired by Bakongo Nkisi are to be seen face to face with the

''fetishes'' throughout the month of September. An eponymous book of 500 numbered copies will be published on this occasion.

— Jewellery and Bronzes from the Y. Chenoufi Collection — From Galerie Noir d’Ivoire, Paris, 19 rue Mazarine

The Noir d’Ivoire gallery is honouring the jewellery and bronzes of the Yasmina Chenoufi collection. All types of material are represented: gold, ivory, bronze and many others. This collection has been patiently put together over 35 years.



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— Black and White — From Dandrieu-Giovagnoni, Rome, exhibiting at 15 rue des Beaux-Arts

Around twenty ancient sculptures from Africa underline the light / shadow contrast through two predominant colour tones: black and white. This confrontation brings to relief the Punu, Ambete and Galoa sculptures from Gabon in soft wood, with white pigments and elaborate forms, and the Senufo, Baoule and Bambara sculptures from Ivory Coast and Mali with their pure lines in hard wood of deep, shiny black. In the centre of the exhibition shines the Igbo-Izi elephant mask from Nigeria, a powerful sculpture enhanced by both black and white.

An eponymous catalogue accompanies the exhibition. — Ekoi: Anyang, Boki, Ejagham — From Galerie Afrique, Saint Maur, exhibiting at 14 rue des Beaux-Arts

In the mountainous and forested region of the high Cross River, on both sides of the border of Nigeria and Cameroon, live the peoples of Bantu origin, who, known as the Ekoi, are made up of the Ejagham, Boki and Anyang. The exhibition presents a representative collection of the sculpture of these ethnic groups: head crests, facial masks and helmet masks, most often in wood covered with antelope skin. A catalogue accompanies the exhibition. — En Avant la Musique — From Galerie SL, Paris, exhibiting at 17 rue Guénégaud

After the exhibition Spoons and Men in 2012 and Headdresses from Central Africa in 2013, Serge Le Guennan this year invites you to discover a new thematic exhibition En avant la Musique, (Start up the Music) a trip through the world of African sound. Your sensitive strings will vibrate to the sound of traditional harps, flutes and whistles, and to the rhythm of drums.

An eponymous catalogue accompanies the exhibition. — Golgotha: Looking towards the Ancestors — From Martin Doustar, Paris / Brussels, exhibiting at 12 rue des Beaux-Arts

Through an exceptional collection bringing together around forty ritual skulls and relics from Oceania, Africa, Insulindia and pre-Columbian America, the exhibition proposes a re-reading of the relationship to death in tribal societies and ancient cultures.

An eponymous catalogue accompanies the exhibition. — Attired Idols — From the Galerie Pablo Touchaleaume, 21 rue Guénégaud

Coming from the four corners of the globe across three thousand years of history, idols, gods and ancestors adorned in all their finery constitute the exhibition theme chosen for this first participation in Parcours des mondes. Illustrating this diversity, mention could be made of the monumental stele in grey schist of a Hoysala Vishnu covered in jewels, the fragmented terra cotta of a moving Bankoni mother goddess with bracelet-laden arms, a tiny, remarkable ivory Okvik figurine with scar-marked features, among others.

A catalogue of the same name accompanies the exhibition.

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— Mysterious Works from Pre-Columbian America — From Galerie Furstenberg, Paris, 8 rue Jacob

Both because of the destruction arising from conquest and the recent nature of

archaeological research in America (begun only at the end of the 19th century), numerous pre-Columbian items raise questions regarding their usage and meaning. Were these objects related to a cult, for everyday use, strictly for funerals, or for utilitarian, war, sacrificial, decorative, protective, shamanic, cosmological or ornamental purposes? These are all questions that specialists face every day and to which, for now, we can offer only the most credible hypotheses. It is this selection of particularly mysterious objects that makes up our exhibition. — Mickey in Benin — From Galerie Vallois Contemporary Sculpture, Paris, 35 rue de Seine

Numerous artists, such as Andy Warhol, Bernard Rancillac, Robert Combas, Alexander Kosolapov and Peter Saul have been inspired by the character of Mickey Mouse in their works. But what does Mickey represent for African artists, whose culture has been nourished by other symbols and different values? Building on their collaboration begun several years ago with artists from Benin, the Vallois sculpture gallery has asked around ten of them to work on the theme of Mickey. The confrontation between the Disney character and the history, imagination, civilisation and artistic repertoire particular to Africa, and especially Benin, has led to the creation of strong works whose power is equalled only by their creativity. — Aboriginal Painting: Abstraction and Sacredness — From Arts d’Australie � Stéphane Jacob, Paris, exhibiting at 51 rue de Seine

The essence of aboriginal painting comes from the carnal link it has with Dreamtime, the mythical time of creation of the world for the Aborigines. Since the 1970s, Aboriginal artists have been developing contemporary visual art with the emergence of major talents that Stéphane Jacob invites you to discover on the occasion of his new participation in Parcours des mondes. This exhibition is the occasion to present works by Ningura Napurrula, an outstanding artist who died in 2013 and who had designed a painted ceiling for the Quai Branly Museum. Also presented is a rare work by her husband Yala Yala Gibbs, who was one of the founders of the contemporary Aboriginal art movement at Papunya in the heart of the Australian desert, in 1971. The public can also discover the works of young artists: Abie Loy Kemarre, Alick Tipoti, Dennis Nona, the artists of Yuendumu and those of Yirrkala. The exhibition includes around fifteen works from the Benjamin Clark collection. On the occasion of the exhibition, two catalogues are being presented: Ningura Napurrula: Peindre pour nourrir le Rêve / Nurturing the Dreaming and Morris Gibson Tjapaltjarri.



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— Pairs, Couples and Maternity: the Art of Duality — From Thomas Murray, Mill Valley, exhibiting at 3 rue des Beaux-Arts

The Art of Duality pays homage to the ancient Austronesian belief according to which any form of life is based on a dualistic concept. The oldest creation myths describe a primordial deity who created the first mother and father clan by magic means. All the following generations and all knowledge come from this original pair. Customary law orders the required rites and ceremonies during which humans request the benediction of the earliest ancestors. Their protection ensures the continuity of the community thanks to the fecundity of marriage and the prosperity of agriculture, as well as safe passage from birth to death, where we return to our point of origin and rejoin the ancestors in the beyond.

In the indigenous animist art of insular Asia, Maternity is a universal archetype of binary nature, often also expressed in the form of sculptures, both miniature and monumental. The Mother and Child, as important in the art of the isolated longhouse as they are in the western tradition, are often represented with great sensitivity.

Dualism can also be interpreted in an abstract way, whether in the form of a giant tree of life with two forked branches as seen on the island of Flores or else pairs represented on jewels or textiles. — Portraits & Finery from the Solomon Islands — From Michael Evans Tribal Art, New Haven / Dijon, exhibiting at 16 rue Guénégaud

This exhibition honours the Solomon Islands with a fine collection of original 19th century photographs explaining the life, traditions and ceremonies of the native peoples of these islands. Ethnographic evidence of the first order, the artistic quality of these photos makes them true works of art. They are accompanied by a collection of jewellery and finery, most of which comes from the collection of the Cranmore Ethnographical Museum at Chislehurst in the UK, created by the famous collector Geoffrey Beasley (1881-1939). — Regards Premiers — From Galerie Dodier, Avranches, exhibiting at 35-37 rue de Seine

After America in 2011 with a remarkable exhibition on spoons from British Columbia, then Africa in 2012 with the presentation of a masterpiece, the famous Maternity Figure Cup Bearer from Nigeria, the Dodier gallery completed its trilogy on tribal arts in 2013 with an exhibition on Oceania.

2014 is to be the year of crossing borders, with the gallery presenting a selection of some forty objects from America, Africa and Oceania. The common denominator is in quality, prestige and originality. Alongside this exhibition, the gallery is presenting a collection of fine quality Melanesian spears.




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— Sacred Baoule — From Galerie Maine Durieu, Paris, 7 rue Visconti

Maine Durieu invites us to discover or re-discover Baoule statuary, one of the major arts of the Ivory Coast, which as early as the beginning of the 20th century had already won over artists and collectors.

This exhibition goes towards demonstrating the intensity and diversity of these sculptures that reveal, with as much gentleness as strength, the complexity of Baoule spirituality, inhabited by ancestors, husbands and wives from beyond and spirits of the bush. Too often judged solely for their aesthetic qualities, these works nonetheless express, in a sacred language, the deep, mystical universe of the human soul.

An eponymous catalogue accompanies the exhibition. — Wise and Ferocious — From Galerie Renaud Vanuxem, Paris, 52 rue Mazarine

This exhibition sets up a confrontation between objects. On the one hand, there are those that are highly expressionistic, where the grin, cry or trance recurrently express questioning of the human soul in relation to the supernatural, death and the sphere of the sacred. On the other hand, there are very serene, meditative objects that reveal through a peaceful, classic approach the quest for a silent inner beauty. — Trajectory VI — From Galerie Frédéric Moisan _ Galerie Hervé Perdriolle, Paris, 72 rue Mazarine

"Indian tribal art is emerging on the international scene. In India, the place of the natives is no longer in the Museum of Mankind, in those reconstitutions where wax models, dressed in traditional costumes, are seated around the fire in front of their traditional homes. Here they are now at the forefront of the contemporary Indian art scene, with works that sell in art galleries and are shown in museums throughout the world. The voice of Indian tribal populations, long stifled, is coming back thanks to painting." Le Monde, 17 February 2011 — African Trilogy — From Galerie Alain Bovis, Paris, 9 rue des Beaux-Arts

In the ancient arts of Africa, the reference to ancestors is almost everywhere. It assumes forms that have become “great classics” and yet vary from one people to another. We have chosen three modes of expression that are quite different from each other in style, materials used and cultures concerned. Kota reliquaries, stones from Sierra Leone and Guinea, and Lega art make up this “African Trilogy”.


— Archaic Eskimo: Ancient Arts of Alaska (Okvik, Punuk, Thule and Yupik Eskimo) — From Galerie Flak, Paris, 8 rue des Beaux-Arts

For over 2000 years, around the Bering Strait in Alaska, a succession of brilliant civilizations developed in the harsh climate of the Great North. Archaic Eskimo cultures, especially in the Okvik era (100 BC to 200 AD) have left evidence of their exceptional shamanic practices in the form of carved marine ivory heads and figures that exude intense power, mystery and sacredness. The Flak gallery is proud and happy to present at the 2014 Parcours des mondes several museum quality examples of these "miniature giants” (whose size rarely exceeds 10 cm) in a panorama encompassing the Old Bering Sea cultures of Punuk, Thule and Inuit (Yupik Eskimo).




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— Utari: the Ainu, Native People of Japan - the Joseph G. Gerena Collection — From Patrick & Ondine Mestdagh, Brussels, exhibiting at 4 rue Visconti

The Ainu are a native paleo-mongoloid people from Hokkaido, the most northern island of Japan. Sharing a genetic link with Amerindians, Tibetans and the peoples of Okinawa, the Ainu are probably related to the Jomon (14.000-300 B.C.), who were the first inhabitants of the archipelago.

The word Ainu means “people”. The men are known for their thick beards and the women for their dark blue tattoos around the mouth, a process started during childhood and completed when a girl attains adulthood. The Ainu live very close to nature and survive through hunting, fishing and some limited agriculture. In their deeply animist belief system, the spirit forces, Kamui, permeate all that is natural – fire, earth, plants, mountains, land animals and fish. Bears are especially esteemed – idolised, but also sacrificed.

Evil spirits are kept at bay through rituals, such as the use of ikupasuy, prayer sticks that are finely carved with protective spiral patterns, morew.

These patterns are also engraved on wooden objects such as ritual dishes and embroidered on costumes, including the renowned Ainu dresses, some of which are made from chewed elm bark, known as attush. From the end of the 19th century, the Ainu had access to exchanged cotton and silk, which developed new possibilities for expression, resulting notably in the ruunpe. (…)

The Gerena collection presents examples of both types. The morew of each type, with these curvilinear patterns, matches decorative elements found on ancient figurative Jomon pottery. Similarities in the patterns suggest a cultural tradition of ten thousand years, and this is backed up by recent DNA research. Ainu patterns also echo decorative elements in ivory coming from Old Bering Sea Eskimos (circa 100-400 B.C.) and can be linked to some heraldic compositions of Amerindians from the North-West coast.

— Towards the Beyond — From Berz Gallery of African Art, Sausalito, exhibiting at 19 rue Guénégaud Ever since the first communities were founded, most cultures have used objects for calling spirits (divinities or ancestors) from "the beyond" by following otherworldly, quasi-mystical principles. The power of these spirits and of the beyond made human existence bearable, supporting men in the efforts of everyday life. As beautiful and expressive as those of others, African cultures used masks and objects from which the whole prosperity of their society was derived. From the promise of a good harvest to the smooth running of a religious ceremony, these objects amount to real keys for understanding, which the exhibition Vers l’Au-delà (Towards the Beyond) invites you to discover.

And also:

The Former French Soudan From Galeria Guilhem Montagut, Barcelone, exhibiting at 12 rue Guénégaud

What, my Face? From Jo De Buck, Bruxelles, exhibiting at 41 rue de Seine War! Emblems of power From Indigènes, Bruxelles, exhibiting at 27 rue de Seine

Masks of ancient Haute-Volta From Joaquin Pecci, Bruxelles, exhibiting at 50 rue Mazarine

Arts of Eastern Nigeria From Dimondstein Tribal Arts, Los Angeles, exhibiting at 15 rue Guénégaud

Assemblage From Bruce Franck Primitive Art, New York, exhibiting at 40 rue Mazarine

Ghurras of Népal From David Serra - Art Tribal, Barcelone, exhibiting at 49 rue de Seine

Continuity From Dartevelle, Brussels, exhibiting at 6 rue Jacques Callot King Size From Pascassion-Manfredi, Paris, résident, 11 rue Visconti

Faces of the World From Galerie Bacquart, Paris, résident, 27 rue de Seine

PRESS PACK IMAGES_AFRICA


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01 AF _ Galerie Afrique Female head. Ejagham, High Cross River, border region Nigeria - Cameroon Wood and antelope skin. H.: 95 cm Photo: Hughes Dubois © Galerie Afrique

02 AF _ Galerie Bacquart Statue. Keaka, Nigeria. 19th century Wood with thick patina. H.: 49 cm Photo © Galerie Bacquart This Keaka statue is a powerful example of the artistic work of this tribe. (…)

03 AF _ Berz Gallery of African Art Gbetu mask. Gola, Sierra Leone. Early 19th century Wood and paint. H.: 62 cm Photo: Scott Mccue © Berz Gallery of African Art This expressive Gbetu helmet mask embodies the ideals and lessons conveyed to the Gola peoples from the beyond. (…)

04 AF _ Galerie Alain Bovis Mbumba-bwete reliquary. Sango, Kota, central Gabon Second half of the 19th century H.: 25 cm Photo: Mathieu Ferrier © Galerie Alain Bovis Wooden core covered with copper plates, strips and threads, bone rings for the eyes, receptacle made up of plant materials bound with bark string (…)

05 AF _ Galerie Olivier Castellano Helmet. Senufo, south of Mali, north of Ivory Coast 19th century Wood. H.: 53 cm Photo: Hughes Dubois © Galerie Olivier Castellano



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06 AF _ Classic Primitives Monkey. Baoule, Ivory Coast. Late 19th century H.: 16.5 cm Photo © Classic Primitives

07 AF _ Jean-Yves Coué Ngon-Ntang dance mask. Fang, Gabon. Late 19th - early 20th century Wood, raffia and upholstery nails. H. of mask: 29 cm; H. overall: 62 cm. Photo: Jean-Pierre Guyonneau © Jean-Yves Coué

08 AF _ Dalton-Somaré Mask. Dan, Toura region, Ivory Coast Wood, black patina and iron. H.: 53 cm Photo © Dalton-Somaré

09 AF _ Dandrieu-Giovagnoni Elephant mask, Ogbodo enye. Igbo Izi, Nigeria. Early 20th century Wood, pigment, metal, fibers and feathers. H.: 32 cm Photo: Hughes Dubois © Dandrieu-Giovagnoni

10 AF _ Dartevelle Nwantantay mask. Bwa, Burkina Faso. 19th century Wood and polychromy. H.: 187 cm Photo: Philippe de Formanoir © Dartevelle



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11 AF _ Jo De Buck Tribal Arts

Initiation mask. Pende, R.D. Congo. Early 20th century Wood and raffia. H.: 35 cm Photo: Robbie Boleyn © Jo De Buck Tribal Arts

12 AF _ Joshua Dimondstein Initiation mask. Yaka, D.R. Congo. 20th century Wood, fibres, fabric, pigments and raffia. H.: 57.2 cm Photo: Scott McCue © Joshua Dimondstein

13 AF _ Galerie Dodier Okuyi mask. Punu, Gabon. Late 19th - early 20th century Light wood painted with white (kaolin) and red (ngula) pigments and black (blackened by fire). H.: 27 cm Photo: Michel Gurfinkel © Galerie Dodier

14 AF _ Galerie Maine Durieu Statue of king. Baoule, Ivory Coast. 19th century Wood. H.: 42 cm Photo: Frank Verdier © Galerie Maine Durieu

This baoule statue is the portrait of a king sitting on a traditional stool, in a hieratic and majestic attitude (…)

15 AF _ Entwistle Mask. Baoule, Ivory Coast. Late 19th century Wood, metal and kaolin. H.: 33 cm. Photo © Entwistle, France



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16 AF _ Yann Ferrandin Female sculpture. Baoule, Ivory Coast Around the turn of the 19th and 20th centuries Wood with shiny brown shaded patina of usage. H.: 40.5 cm Photo: Hughes Dubois © Yann Ferrandin

17 AF _ Galerie Jacques Germain Duho plank mask. Bwa, Burkina Faso, north-west region Early 20th century Wood, pigments and patina of usage. L.: 121 cm Photo: Hughes Dubois © Galerie Jacques Germain Although dance accessories from Burkina Faso show certain homogeneity in formal terms, some predominantly horizontal plank masks are clearly attributable to Bwa society (…)

18 AF _ Jacaranda Tribal Anthropomorphic whistle. Mangbetu, D.R. Congo. Late 19th century Wood. H.: 12 cm Photo: James Worrell © Jacaranda Tribal This Mangbetu pipe is in the form of a seated person, the torso of the figure makes up the bowl and its arms are carved with the hands placed on the thighs (…)

19 AF _ Philippe Laeremans Tribal Art Reliquary figure. Mahongwe, Gabon. 19th century Wood and copper. H.: 36 cm Photo: A. Speldoorm © Philippe Laeremans Tribal Art Magnificent Mahongwe reliquary, as remarkable for its balance as for its aesthetic quality. Patina of usage.

20 AF _ Galerie Olivier Larroque

Fecundity statuette from Akwaaba. Fanti (Akan), Ghana. Late 19th - early 20th century Wood, kaolin, trade beads, cornelian, bone and coins. H.: 39 cm Photo: David Huguenin © Galerie Olivier Larroque This rare doll with carved body was carried on the back by a young Fanti girl in order to ensure her fertility and also with a view to passing on to the child its aesthetic qualities (…)



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21 AF _ Galerie Abla et Alain Lecomte Fetish. Bateke, Gamboma, Malebo Pool, D.R. Congo. Mid 19th century Wood and mixed materials. H.: 43.5 cm Photo: Paul Louis, Brussels © Galerie Abla et Alain Lecomte

22 AF _ Galerie Monbrison Fetish. Songye, D.R. Congo. Late 19th century Wood, antelope horn and brass. H.: 45 cm (with horn) Photo: Michel Gurfinkel © Galerie Monbrison

23 AF _ Galeria Guilhem Montagut Statue. Djennenke, Bandiagara plateau, Mali Hard wood, oily grey patina. H.: 54 cm Photo: Carlos Insenser © Galerie Guilhem Montagut

24 AF _ Galerie Noir d’Ivoire Collection of jewellery. Various regions represented, Black Africa Late 19th – early 20th century, some pieces earlier Ivory, gold, bronze and other materials Photo: Brigitte Cavanagh © Galerie Noir d’ivoire

25 AF _ Joaquin Pecci Tribal Art Sculpture. Dogon, Mali Wood. H.: 37 cm Photo: Frédéric Dehaen © Joaquin Pecci Tribal Art



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26 AF _ Lucas Ratton Charm. Punu, Gabon. Early 20th century Wood. H.: 19 cm Photo: Hughes Dubois © Lucas Ratton

27 AF _ Galerie Philippe Ratton Tyiwara crest. Bambara, Kinian Cercle, Mali. 19th century Wood. H.: 53 cm Photo: Sylvia Bataille © Galerie Philippe Ratton

28 AF _ Galerie SAO Fetish. Songye, Ivory Coast Wood. H.: 28 cm Photo: Pascal Barrier © Galerie SAO

29 AF _ David Serra - Tribal Art Female statuette. Bambara, Mali. 19th century Wood. H.: 42.5 cm Photo: Guillem F-H © David Serra - Art Tribal

30 AF _ Galerie Sigui Ekpo society mask. Ibibio, Cross-River, Nigeria. Early 20th century Semi-hard wood with thick black patina. H.: 32 cm Photo: J.P. Guyonneau © Galerie Sigui Superb mask with hinged jaw from the male “Ekpo” society, linked to political, religious and judicial powers, establishment of laws and ancestor cults (…)



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31 AF _ Galerie SL Nzoe Ngoma harp. Mitsogho, Gabon. 19th century Light wood, gazelle skin, plant fibres and kaolin markings. H.: 60 cm Photo: Franck Verdier © Galerie SL The big harp, whose vernacular name is Nzoe Ngoma, is characterised by a cephalomorphic sculpture located at the rear of the arc of the neck (…)

32 AF _ Galerie Pablo Touchaleaume Seated female statue. Bankoni, Mali. 12th – 15th century Terra cotta. H.: 69 cm Photo: Christian Baraja © Galerie Pablo Touchaleaume

This female representation full of humanism escapes the often stereotypical character of Bankoni terra cottas. Scars left by time reinforce the poetic charge of this piece (...)

33 AF _ Galerie Schoffel de Fabry Kuyu helmet mask D.R. Congo. H.: 42 cm Photo © Galerie Schoffel de Fabry

34 AF _ Frank Van Craen gallery Mask. Lega, R.D. Congo Wood and raffia. H.: 33 cm (without beard) Photo: Studio R. Asselberghs – Frédéric Dehaen © Frank Van Craen gallery

35 AF _ Galerie Renaud Vanuxem Figure. Lagoon region (Ebrie/Aladian), Ivory Coast. 19th century Ivory. H.: 11 cm Photo: Hughes Dubois © Galerie Renaud Vanuxem

PRESS PACK IMAGES _ AMERICAS


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01 AM _ Galerie Bernard Dulon Tsantsa shrunken head. Jivaros - Shuars / Achuars, Peru, Ecuador. Late 19th century - early 20th century Insect elytra, hair, feathers, skin, etc. H.: 56 cm Photo: Vincent Girier Dufournier © Galerie Bernard Dulon This really beautiful shrunken head comes from the north-west of the Amazonian forest, on what is now the territory of Ecuador and Peru (…)

02 AM _ Donald Ellis Gallery Loon mask. Yup'ik, South-west Alaska Late 19th century (1880) Wood and pigments. H.: 25.5 cm Photo © Donald Ellis Gallery

03 AM _ Galerie Flak Large figure. Okvik, archaic Eskimo, Alaska. 200 B.C. - 100 A.D. Carved walrus tusk. H.: 9.9 cm Photo: David O. Marlow © Galerie Flak This human figure, around 2000 years old, carved from a partially fossilised walrus tusk, is especially moving through its expressiveness, refinement and the intensity of its presence (…)

04 AM _ Galerie Furstenberg Shamanic bowl with fantastical creature. Jama Coaque, Ecuador, South America. 100–600 A.D. Orange-tinted grey terra cotta with traces of turquoise pigments H.: 33.5 cm Photo: Michel Gurfinkel © Galerie Furstenberg Quite justly entitled “Surrealism” in the work of reference on Ecuador, this rare type of work can give rise to multiple interpretations (…)

05 AM _ Brant Mackley Gallery Kwakwaka’wakw wedding figure, Gwatsinukw village, north-west coast of North America. Circa 1780-1840 Red cedar and pigments. H.: 78,75 cm Photo © Brant Mackley Gallery

PRESS PACK IMAGES _ ASIA


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01 AS _ Jonathan Hope Ancestor figure. Hampatong, Benna, Kalimantan. 19th century Wood. H.: 148 cm Photo: P.J. Gates © Jonathan Hope

02 AS _ Indian Heritage Rakshasa mask. West Nepal. 19th century Wood with thick patina. H.: 25 cm Photo: F. Rond © Indian Heritage This primitive Nepalese mask with apelike profile and prominent fangs recalls a portrait of Rakshasa, mythical creature of Hinduism (…)

03 AS _ Renaud Montméat Arts of Asia Bhudevi. South India. 13th-14th century. Bronze. H.: 28.7 cm Photo © Renaud Montméat Arts d’Asie

04 AS _ Thomas Murray Ancestor couple. Babar, south-east of Moluccas, Indonesia 19th - early 20th century Wood. H. man: 137 cm; H. woman: 124.5 cm Photo © Thomas Murray

05 AS _ Bruce Frank Primitive Art Hampatong guardian figure. Iban Dayak, West Borneo, Indonesia. 19th century H.: 85 cm Photo: Oren E. © Bruce Frank Primitive Art

PRESS PACK IMAGES _ ARCHÉOLOGY & CONTEMPORARY


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01 ARCH _ Galerie L’Étoile d’Ishtar Arched stele of the musician "Djed-Hathor-Es-ankh" Art of ancient Pharaonic Egypt, Ptolemaic period (305-30 B.C.) Hard limestone engraved and carved out. H.: 34.3 cm; W.: 24.5 cm Photo: Didier Wormser © Galerie L’Etoile d’Ishtar Translation of inscriptions from right to left: "Osiris Djed-Hathor-es-ankh" "Osiris who presides over the West" "Harsiesis" "Isis" "Anubis" (…)

02 ARCH _ David Ghezelbash Archéologie Ex-voto plate representing a stylised human face South Arabian Art, End 1rst millenary B.C. Bronze. H.: 29,8 cm Photo © David Ghezelbash Archéologie

01 CONT _ Galerie Frédéric Moisan _ Galerie Hervé Perdriolle Chano Devi Untitled, 1999 Cow dung on paper. 168 x 151 cm Photo © Galerie Hervé Perdriolle

02 CONT _ Galerie Vallois Contemporary Sculpture Dominique Zinkpé Mickey-Valise, 2014 Wood. 45 x 60 x 20 cm Photo: Louise Delbaere © Galerie Vallois Contemporary Sculpture

PRESS PACK IMAGES _ OCEANIA


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01 OC _ Arte y Ritual

Seated woman. Iatmul, Papua New Guinea. 19th century or earlier Wood and pigments. H.: 15.2 cm Photo: Carlos Ochoa © Arte y Ritual

02 OC _ Art of Australia � Stéphane Jacob Ningura Napurrula. Untitled, 2010 Acrylic on canvas. H.: 153 cm Photo: Carlie Roach © Art d’Australie � Stéphane Jacob This rare work by Ningura Napurrula retranscribes the topography of a sacred site that she referred to little during her career: Ngaminya. Although this canvas looks abstract to untutored eyes, it is in fact brimming with symbols (…)

03 OC _ Chris Boylan - Oceanic Art Elyaborr war shield. Mendi, southern mountainous region, Papua New Guinea. Early 20th century Pre-contact, stone-carved wood. H.: 69 cm Photo: Lucio Nigro © Chris Boylan - Oceanic Art This stone-carved shield was supported by a sling over the shoulder and positioned under the arm, so as to protect the torso of an archer. (…)

04 OC _ Kevin Conru Female sculpture. Yuat, province east of the Sepik river, Papua New Guinea. 19th century Wood and pigments. H.: 91 cm Photo: Studio Asselberghs - Frédéric Dehaen © Kevin Conru

05 OC _ Martin Doustar Skull rack. Kaningara, Blackwater river, middle Sepik region, Papua New Guinea. 19th century Wood, human skulls, hair, clay, natural pigments, cowry and pearl. H.: 55 cm Photo © Martin Doustar This exceptional ceremonial rack holds two skulls (…)



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06 OC _Michael Evans Tribal Art Kia ornamental apron. Shortland Islands, western province, Solomon Islands, Melanesia. Circa 1870-80. Trade beads in glass, shells and natural fibres. H.: 108 cm Photo © Michael Evans Tribal Art

A long multi-coloured apron in glass trade beads (…)

07 OC _ Galerie Patrik Fröhlich

Spirit mask. Border between Singarin and the coastal region, lower Sepik region, Papua New Guinea. 19th century Wood and pigments. H.: 33 cm Photo © Galerie Patrik Fröhlich This fine intense mask combines the face of an ancestor with an animal totem carved on the forehead. The abundant painting that covers the mask, composed of natural pigments, is intact.

08 OC _ Indigènes Prow of war canoe. Roviana Lagoon, New Georgia Island, Western Province, Solomon Islands, Melanasia. 19th – 20th century Wood, shells and natural pigments. H.: 220 cm

Photo: Studio R. Asselberghs - Frédéric Dehaen, Brussels © Indigènes War canoes (Tomako) had decorated prows to show the importance of clan chiefs and could comfortably carry twenty or more warriors (…)

09 OC _ Michael Hamson Oceanic Art Prow figure. New Ireland. Mid 19th century Wood and pigments. H.: 42 cm Photo © Michael Hamson Oceanic Art

10 OC _ Wayne Heathcote Neckrest. Papua New Guinea. H.: 73.3 cm Photo: Rogelio Lopez © Wayne Heathcote



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11 OC _ Ben Hunter Kinikini. Fiji, Polynesia. 19th century Wood. H.: 106 Photo © Ben Hunter

12 OC _ Patrick & Ondine Mestdagh Tigo type axe. Matty Island, Para-Micronesia. 19th century H.: 28 cm Photo: Paul Louis © Patrick & Ondine Mestdagh The blade is in turtle bone and the handle in wood.

13 OC _ Galerie Meyer Oceanic and Eskimo Art Bowl. Austral Islands. 19th century. Wood (known as Tamanu). H.: 38 cm Photo: Michel Gurfinkel © Galerie Meyer Oceanic and Eskimo Art

14 OC _ Pascassio Manfredi Bed. Timor 203 x 66 x 33 cm Photo © Franck Verdier

15 OC _ Serge Schoffel Art Premier Uli. New Ireland. 18th - 19th century H.: 126 cm Photo: Studio Asselberghs-Frederic Dehaen © Serge Schoffel Art Premier Found only in the central region of New Ireland, the Uli was designed, then repainted and reused at the funerals of great warrior chiefs.



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16 OC _ Michel Thieme Storm charm. Caroline Islands, Micronesia 19th – early 20th century Wood, lime, dorsal spine of ray, fibre and soot/pigments H.: 43 cm Photo: Jan van Esch © Michel Thieme Magic relating to the weather was essential for controlling and mastering dangers. The most powerful tool for this was the storm charm (…)

17 OC _ J. Visser Mask. Region of the Sepik river, Papua New Guinea Wood, human hair and shells. H.: 58 cm Photo © Nicolas Clobert

18 OC _ Voyageurs & Curieux Nguzunguzu prow figure. Solomon Islands, Melanesia. 19th century

Wood, Parinarium resin, paint and nautilus pearl. H.: 16 cm Photo: Hughes Dubois © Voyageurs & Curieux

PRESS PACK LIST OF EXHIBITORS


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AUSTRALIA Chris Boylan - Oceanic Art, Sydney _ Oceanic Art Contact: [email protected], T: +61 405 09 35 77 Exhibiting at Gallery Lee _ 9, rue Visconti

BELGIUM Classic Primitives _ Ancient Arts from Black Africa Contact : Renaud Riley, [email protected], Mob : +32 479 50 43 90 Exhibiting at Gallery Mazarine _ 19, rue Mazarine Dartevelle, Brussels _ Tribal Arts Contact: Pierre & Valérie Dartevelle, [email protected], T: +32 2 513 01 75 Exhibiting at Gallery Loevenbruck _ 6, rue Jacques Callot Jo De Buck Tribal Arts, Brussels _ Tribal Arts Contact: [email protected], T:+32 2 512 55 16 Exhibiting at Gallery Sparts _ 41, rue de Seine Indigènes, Brussels _ Tribal Art from Africa, Oceania and the Americas Contact: Rita Fryer, [email protected], Mob: +32 474 333 972 Exhibiting at Les Yeux Fertiles _ 27, rue de Seine Philippe Laeremans Tribal Art, Brussels _ Africa Contact: [email protected], T: +32 2 503 00 13 Exhibiting at Bailly Contemporain _ 38, rue de Seine Patrick & Ondine Mestdagh, Brussels _ Art and Antiquities Contact: [email protected], T: +32 2 511 10 27 Exhibiting at Atelier Visconti _ 4, rue Visconti Joaquin Pecci Tribal Art, Brussels _ Ancient Arts from Black Africa and the Himalayas Contact: [email protected], T: +32 2 513 44 20 Exhibiting at Lélia Mordoch _ 50, rue Mazarine Serge Schoffel Art Premier, Brussels _ Ancient Tribal Arts from all the Continents Contact: [email protected], Mob: +32 473 56 32 33 Exhibiting at Gallery Rive Gauche _ 23, rue de Sein Galerie Frank Van Craen, Brussels _ African Arts, Ancient Japanese Furniture Contact: [email protected], Mob: +32 475 66 81 87 Exhibiting at Gallery Daniel Besseiche _ 33, rue Guénégaud Galerie J. Visser, Brussels _ Tribal Art Contact: [email protected] - T: +32 2 503 49 42 Exhibiting at Cat Berro _ 25, rue Guénégaud

CANADA Galerie Jacques Germain, Montreal _ Art from Black Africa Contact: [email protected], T: +1 514 278 6575 Exhibiting at Gallery Aittouarès _ 2, rue des Beaux-Arts

SPAIN Arte y Ritual, Madrid _ Tribal Arts from Africa, Oceania and the North-West Coast of America Contact: Ana & Antonio Casanovas, [email protected], T: +34 91 522 75 52 Exhibiting at Gallery Crous _ 11, rue des Beaux-Arts



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Galeria Guilhem Montagut, Barcelona _ Tribal Art from Black Africa Contact: [email protected], T: +34 93 215 90 24 Exhibiting at Gimpel & Muller _ 12, rue Guénégaud David Serra – Tribal Art, Barcelona _ Tribal Arts Contact: [email protected], Mob: +34 667 52 55 97 Exhibiting at Gallery Marie-Laure de l’Écotais _ 49, rue de Seine UNITED STATES Berz Gallery of African Art, Sausalito _ African Arts Contact: Andrew Berz, [email protected], T: +415 362 6601 Exhibiting at Gallery Foret Verte _ 19, rue Guénégaud Joshua Dimondstein, Los Angeles _ Tribal Art Contact: [email protected], Mob: +1 415 613 2021 (United States) Exhibiting at Délire en Formation _ 12, rue Guénégaud Donald Ellis Gallery, New York _ Ancient Art from North America Contact: [email protected], T: +1 212 581 3090 Exhibiting at Gallery Samantha Sellem _ 5, rue Jacques Callot Michael Evans Tribal Art, New Haven/ Dijon _ Art and Photographs from Oceania and North America Contact: [email protected], T: +33 3 80 28 97 73 Exhibiting at Gallery Couteron _ 16, rue Guénégaud Bruce Frank Primitive Art, New York_ Oceanic and Indonesian Art Contact : [email protected], T : +1 917 733 9589 Exhibiting at Artefact Design_40, rue Mazarine Michael Hamson Oceanic Art, Palos Verdes Estates _ Oceanic Art from New Guinea Contact: [email protected], T: + 1 310 373 1392 Exhibiting at Gallery Landrot _ 5, rue Jacques Callot Wayne Heathcote, Miami _ Oceanic Art Contact: [email protected], T: +44 1865 300 990 Exhibiting at Gallery Nicolas Deman _ 12, rue Jacques Callot Jacaranda Tribal, New York _ Traditional Art from Africa and Oceania Contact: Dori Rootenberg, [email protected], T: +1 212 713 0465 Exhibiting at Gallery Espaces 54 _ 54, rue Mazarine Brant Mackley Gallery, Hershey _ Ancient Art from North America Contact: [email protected], T: +1 717 554 2176 Exhibiting at Gallery Couteron _ 16, rue Guénégaud Thomas Murray, Mill Valley _ Asiatica - Ethnographica Contact: [email protected], T: +1 415 332 3445 Exhibiting at JSC Gallery _ 3, rue des Beaux-Arts FRANCE Galerie Afrique, Saint Maur _ African Arts Contact: [email protected], T: +33 1 43 97 29 49 Exhibiting at Gallery Louis Cane _ 14, rue des Beaux-Arts Arts d’Australia � Stéphane Jacob, Paris _ Australian Aboriginal Art Contact: [email protected], T: +33 1 46 22 23 20 Exhibiting at Gallery Seine 51 _ 51, rue de Seine



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Galerie Bacquart, Paris _ Tribal Arts Contact: Jean-Baptiste Bacquart, [email protected], T: +33 9 81 24 16 18 Resident _ 27, rue de Seine Galerie Alain Bovis, Paris _ Tribal Arts from Africa, Asia and Oceania Contact: [email protected], T: +33 1 56 24 09 25 Resident _ 9, rue des Beaux-Arts Galerie Olivier Castellano, Paris _ Tribal Art Contact: [email protected], T: +33 1 73 75 19 24 Resident _ 34, rue Mazarine Jean-Yves Coué, Nantes _ Africa, Oceania, South-East Asia Contact: [email protected], T: +33 6 08 88 43 20 Exhibiting at Gallery Routes _ 53, rue de Seine Galerie Dodier, Avranches _ Africa, America, Oceania Contact: [email protected], T: +33 2 33 48 75 91 Exhibiting at Gallery Michel Giraud _ 35-37, rue de Seine Martin Doustar, Paris / Brussels _ Archeology, Ethnography Contact: [email protected], Mob: +33 6 87 29 30 74 Exhibiting at Martin Loeb gallery _ 12, rue des Beaux-Arts Galerie Bernard Dulon, Paris _ Tribal Arts Contact: [email protected], T: +33 1 43 25 25 00 Resident _ 10, rue Jacques Callot Galerie Maine Durieu, Paris _ Arts from Africa Contact: [email protected], T: +33 1 43 26 82 52 Resident _ 7, rue Visconti Entwistle, Paris / London _ Africa, Oceania, America Contact: Lance Entwistle & Roberta Entwistle, [email protected], T: +33 1 53 10 02 02 Resident _ 5, rue des Beaux-Arts L’Étoile d’Ishtar, Paris _ Archeology Contact: Didier Wormser, [email protected], T: +33 1 46 33 83 55 Resident _ 11, rue des Beaux-Arts Yann Ferrandin, Paris _ Ancient Arts from Africa, Oceania, North America and Indonesia Contact: [email protected], T: +33 1 43 26 08 37 Resident _ 33, rue de Seine Galerie Flak, Paris _ Ancient Arts from North America, Africa and Oceania Contact: Edith and Julien Flak, [email protected], T: +33 1 46 33 77 77 Resident – 8, rue des Beaux-Arts Galerie Furstenberg, Paris _ Pre-Columbian Arts Contact: Jean-Christophe Argillet, [email protected], T: +33 1 43 25 89 58 Resident _ 8, rue Jacob David Ghezelbash Archeology, Paris _ Archeology Contact: [email protected], T: +33 1 46 33 64 81 Resident _ 12, rue Jacob Indian Heritage, Paris _ Art from India and the Himalayas Contact: Frédéric Rond, [email protected], T: +33 1 42 77 58 48 Exhibiting at Olivier Vanuxem _ 54, rue Mazarine



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Galerie Olivier Larroque, Nimes _ Ancient Art from Black Africa Contact: [email protected], Mob: +33 6 80 08 00 93 Exhibiting at Gallery Hug _ 2, rue de l'Echaudé Galerie Alain Lecomte, Paris _ Ancient Arts from Black Africa Contact: [email protected], T: +33 1 43 54 13 83 Resident _ 21, rue Guénégaud Galerie Meyer, Paris _ Oceanic Art and Ancient Eskimo Art Contact: [email protected], T: +33 1 43 54 85 74 Resident _ 17, rue des Beaux-Arts Galerie Monbrison, Paris _ Tribal Art - Antiquities Contact: [email protected], T: +33 1 46 34 05 20 Resident _ 2, rue des Beaux-Arts Renaud Montméat Arts of Asia, Paris _ Art from India, the Himalayas and South-East Asia Contact: [email protected], Mob: +33 6 17 61 21 60 Exhibiting at Gallery Claudine Legrand _ 49, rue de Seine Galerie Noir d’Ivoire, Paris _ African Art Contact: [email protected], T.: + 33 1 43 54 97 66 Resident _ 19, rue Mazarine Pascassio Manfredi, Paris _ Tribal Art from Indonesia and the Philippines Contact: [email protected], T.: + 33 1 43 26 34 16 Resident _ 11, rue Visconti Galerie Philippe Ratton, Paris _ Tribal Arts Contact: [email protected], T.: +33 1 46 33 34 02 Resident _ 11, rue Bonaparte Lucas Ratton, Paris _ Tribal Arts Contact: [email protected], T.: +33 1 46 33 06 24 Resident _ 33, rue de Seine Galerie SAO, Paris _ Tribal Arts Contact: France Rivière, [email protected], T: +33 1 42 96 32 60 Resident _ 1, rue Saint-Benoît Galerie Schoffel de Fabry, Paris _ Africa, Oceania, North America and South-East Asia Contact: Judith Schoffel _ [email protected], T: +33 1 43 26 83 38 Resident _ 14, rue Guénégaud Galerie Sigui, Angers _ Tribal Arts and Ancient Civilisations Contact: Jean-François Blondeau, [email protected], T: +33 2 41 20 05 75 Exhibiting at Galerie de l'Europe _ 55, rue de Seine Galerie SL, Paris _ Arts from Africa and South-East Asia Contact: Serge Le Guennan, [email protected], T: +33 1 43 25 35 25 Exhibiting at Gallery Da End _ 17, rue Guénégaud Galerie Pablo Touchaleaume, Paris _ Tribal Arts, Archeology, Arts from Asia Contact: [email protected], T: +33 1 43 54 70 03 Resident _ 21, rue Guénégaud Galerie Vallois Contemporary Sculpture, Paris _ Contemporary Sculpture Contact: Cédric Rabeyrolles Destailleur, [email protected], T: +33 1 43 29 50 84 Resident _ 41, rue de Seine



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Galerie Renaud Vanuxem, Paris _ African, Oceanic and Himalayan Art Contact: [email protected], T: +33 1 43 26 03 04 Resident _ 52, rue Mazarine Voyageurs & Curieux, Paris - Arts from Oceania Contact: Jean-Edouard Carlier, [email protected], T: +33 1 43 26 14 58 Resident _ 2, rue Visconti I TALY Dalton Somaré, Milan _ African Art and Ancient Art from Asia Contact: [email protected], T: +39 02 890 961 73 Exhibiting at Gallery Rauchfeld _ 22, rue de Seine Dandrieu - Giovagnoni, Rome _ Ancient African Art Contact: Chantal Dandrieu, [email protected], T: +39 06 69 90 264 Exhibiting at Gallery Michel Vidal _ 15, rue des Beaux-Arts NETHERLANDS Michel Thieme, Amsterdam _ Tribal Art Contact: [email protected], T: +31 20 330 5335 Exhibiting at Art is You _ 10, rue des Beaux-Arts UNITED KINGDOM Kevin Conru, London / Brussels _ African and Oceanic Art Contact: [email protected], T: +32 478 566 459 Exhibiting at Gallery Arnaud Lefebvre _ 10, rue des Beaux-Arts Jonathan Hope, London _ Rare Textiles, Tribal Art Contact: [email protected], T: +44 207 581 5023 Exhibiting at Gallery Bayart _ 17, rue des Beaux-Arts Ben Hunter, London _ Art from Oceania and Africa Contact: [email protected], T: +44 79 31 747 428 Exhibiting at Galerie de Casson _ 21, rue de Seine SWITZERLAND Galerie Patrik Fröhlich, Zurich _ African and Oceanic Art Contact: [email protected], T: + 41 44 242 89 00 Exhibiting at Gallery GNG _ 3, rue Visconti BOOKSHOPS Librairie Fischbacher, Paris _ New and Ancient Art Books Contact: Marianne Thonon, [email protected] - T.: +33 1 43 26 84 87 Resident _ 33, rue de Seine Librairie Mazarine, Paris – Rare and Out-of-Print Art Books Contact: Pierre Durieu, [email protected] - T.: +33 1 46 33 48 37 Resident _ 78, rue Mazarine AND ALSO, OUR INFORMATION POINT Galerie Frédéric Moisan & Galerie Hervé Perdriolle, Paris _ Contemporary Art Contact: Solenn Laurent, [email protected], T: +33 1 49 26 95 44 Resident _ 72, rue Mazarin

PRESS PACK PRACTICAL INFORMATION


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WHERE The Beaux-Arts district of Saint-Germain-des-Prés, Paris, 6th. Occupation of galleries located along the streets of Beaux-Arts, Bonaparte, de Seine, Jacques Callot, Mazarine, Guénégaud, Visconti, Jacob, de l’Echaudé and St-Benoît. WHEN From Tuesday 9 to Sunday 14 September 2014 Tuesday 9, opening from 3 to 9 p.m. From Wednesday to Saturday, from 11 a.m. to 7 p.m., Sunday until 5 p.m. Late night opening on Friday 12 September until 9 p.m.

WHAT To date Parcours des mondes is the largest international exhibition of tribal art by the number, quality and diversity of its participants. Since 2002, it has been bringing together every year in Paris around sixty galleries specialised in the arts of Africa, Oceania and the Americas. A sign of the success of the event is that 50% of participants this year are from abroad: American, British, Australian, Belgian, Canadian, Spanish, Italian, Dutch and Swiss galleries or those from the provinces are joining others who are permanently installed in the Beaux-Arts district of Saint-Germain-des-Prés in Paris. This exceptional concentration of works and experts takes the form of an open, free access art fair where visitors can browse through the quaint streets of this historic neighbourhood, which has become the showcase of tribal arts. Each gallery offers a personalised and intimate presentation of unknown masterpieces from Africa or Oceania, some more affordable pieces and ethnographic works sought by collectors. The success of this extramural show, greeted by an

enthusiastic press in 2013, with rising attendance and increasingly international, is due to a combination of complementary elements: the health of the tribal arts market, the increasing popularity among art lovers of these arts, efforts by art dealers to offer high quality thematic exhibitions, and the vigilance of the organisers as regards the quality of the exhibited pieces. Parcours des mondes is an art fair that is rigorous in its selection of art dealers and in its selection of works.

ORGANISING TEAM Artistic Director: Alexander Arthur Tribal Art Management [email protected] BP 18 - 7181 Arquennes - Belgium Organiser: Liesbeth Vanmol Director: Pierre Moos [email protected] +33 6 09 17 21 09 PRESS RELATIONS Agence Colonnes _ Claire Galimard _ Lara Fatimi _ [email protected] _ T: +33 1 42 60 70 10

PRESS PACK PARTNERS


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PRESS PARTNERS

Tribal Art Magazine BP 18, 7181 Arquennes, BE T: +32 67 877 277 [email protected] www.tribalmagazine.com

L’Alcazar 62, rue Mazarine, 75006 Paris T: +33 1 53 10 19 99 Open 7/7, 12-3 p.m., 7 p.m. - 2 a.m. www.alcazar.fr www.blogalcazar.fr

IESA Institut d’Etudes Supérieures des Arts 5, avenue de l’Opéra, 75001 Paris T: +33 1 42 86 57 01 [email protected] www.iesa.info

parcours des mondes 2014 press pack

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foremost american art

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