Respecting the Balance

Gilles Picard

Brussels, 23 January 2018

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Like most collectors flocking to BRAFA, Harold t’Kint de Roodenbeke likes the month of January. President of the fair for the sixth consecutive year, he reveals to Artkhade with AMA the key points of the strategy for the Brussels-based fair. Verbatim.

With nearly 25,000 artifacts and works of art, presented by 135 exhibitors, BRAFA is an event not to be missed. Considered one of the top five global art fairs, it takes place in January and is also the fair which sets the pace for the art market. Following the Paris biennale in September, Frieze Masters in October in London and shortly before the Maastricht TEFAF in March, BRAFA is a key date in the diary for all lovers of fine art. A major European event held at the stylish brick and wrought iron Tour & Taxis site, BRAFA signals the return to trading for the year. It is important to keep in mind that on this international stage whilst 30% of traders are Belgian, the bulk of those in attendance come from the other 15 countries represented, from Canada to Japan. The key characteristic of BRAFA [.../...]

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Tags: Aboriginal Art, Native American Art, Pre-Columbian Art, Asian Art, Oceanic Art, African Art, Interviews, Fairs & Shows


THE COLLECTIVE: Martine Pinard, a seeker of humanity

By Laurent Granier with Artkhade and Gus Adler & Filles

Paris, 23 January 2018

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Collectors and art lovers populate the world of ancient African, Oceanic and American arts. Laurent Granier takes a look at their backgrounds, the psychological mechanisms behind their passions, their doubts, and their strategies. With them, he discusses objects, their histories, and the market.

All self-respecting tribal-arts lovers are familiar with the blog Détours des mondes, its hundreds of meticulous posts, its accounts of exhibitions, its yays and its nays, and its thematic bibliographies. But who exactly is Martine Pinard, the author of the said blog, and the president of the eponymous association? I was dying to find out more about this discreet woman, whom I’d come across two or three times previously in the course of my research, and whose conscientious work gave me hope of a wonderful encounter. So we scheduled to meet for Sunday lunch in a venue that she is particularly fond of: La Maison Rouge, in Paris, on 2 April 2017.

Beautiful things

Born to a modest family, young Martine Pinard dreamed of conquering space. An only [.../...]

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Tags: Oceanic Art, African Art, Interviews


THE COLLECTIVE: Alexandre Logé, an unflagging hunter

By Laurent Granier with Artkhade and Gus Adler & Filles

Paris, 28 November 2017

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Collectors and art lovers populate the world of ancient African, Oceanic and American arts. Laurent Granier takes a look at their backgrounds, the psychological mechanisms behind their passions, their doubts, and their strategies. With them, he discusses objects, their histories, and the market.

Alexandre Logé, an unflagging hunter

Alexandre Logé gave up everything at the age of twenty-six to sail around the world: “A big romantic adventure, hitching a boat ride from Marseille to Brazil via Africa.” [The myth of French sailor Bernard Moitessier soon collapsed, but Alexandre reports a “loathing of parapraxes”.] He returned to Paris, penniless, after accomplishing his dream, “and above all with vast energy and an understanding that barriers are primarily mental.” In 2005 he set up his own business, “a micro-enterprise with a few bits of bronze and several ideas. Everything started off with three prototypes…” Today a designer and creator of acclaimed furniture, he works with galleries in New York, Paris, Brussels, and even [.../...]

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Tags: African Art, Oceanic Art, Interviews


The Fondation Dapper opts for nomadism

By Artkhade with Art Media Agency

Paris, 20 November 2017

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The announcement of the Musée Dapper’s closure in May this year came as sad news. But the foundation suffers from no shortage of projects and intends to refocus on outside-the-walls initiatives. A meeting with its president, Christiane Falgayrettes-Leveau.

After thirty years of activity and around fifty exhibitions on its counter, the Musée Dapper closed its doors permanently on 18 June this year. In the face of dropping visitor numbers and overly high operational costs, this private museum, well known for its collection of around 6,000 pieces — including 2,000 ancient works from Africa, the Pacific and the Caribbean — was forced to shut. “Maintenance costs were too high, not to mention the cost of putting on exhibitions,” explains Christiane Falgayrettes-Leveau, president of the Fondation Dapper. “But the other reason, just as important, is that we wanted to renew ourselves.”

The Fondation Dapper, which Christiane Falgayrettes-Leveau set up in 1983 with her husband Michel Leveau, who died in 2012, took on a museum structure in [.../...]

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Tags: African Art, Events, Interviews


THE COLLECTIVE: Olivier Salandini, instinctive yet rational

By Laurent Granier with Artkhade and Gus Adler & Filles

Paris, 6 octobre 2017

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The world of Ancient Arts from Africa, Oceania and America is populated by collectors and enthusiasts. Laurent Granier explores their personal journeys, their strategies, their uncertainties, and the driving forces behind their passion. Together, they discuss the objects, their stories, and the market that keeps them in motion.

Olivier Salandini, instinctive yet rational

Like any good musician who fine-tunes his repertoire, organist and harpsichordist Olivier Salandini lives surrounded by exquisitely selected works of art. And they transform him. The man who believes that “going to a museum is like going to a concert” met us to discuss his intimate relationship with African art objects, his favourite pieces, but also his approach to time and the Importance of continually developing his taste. Rendez-vous at the café Le Balto on Rue Mazarine, and at the Galerie Yann Ferrandin on Rue de Seine in Paris, on 1 April 2017.

Like living with someone

“How did I get started? Through antique stores. I’d buy here and there without [.../...]

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Tags: African Art, Interviews


Alex Arthur, Tribal Art and its market

By Artkhade with Art Media Agency

Paris, 13 September 2017

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What are the evolutions and limitations of the tribal-art market? How is it nurtured by the contributions of research and ethnology? Alex Arthur offers us a few indications…

Alexander Arthur is a well-informed collector and a fine connoisseur of tribal arts. For over twenty years, he has been the publishing director of Tribal Art Magazine. In 2009, he also became involved, with Pierre Moos, in the management of Parcours des Mondes.

-You are one of the key protagonists of Parcours des Mondes. How have you seen the fair evolve?

A.A.: I actually participated in the very first Parcours so I remember well how it consisted of only a handful of galleries. But the concept was a good one and it grew rapidly into the world’s premier event. The event grew in quality as has the market overall and Parcours des Mondes has become the annual focal point for many galleries today, a situation that is reflected in the quality of many artworks on show and the number of thematic exhibitions.

-Tell us about vetting at the fair.

A.A.: Like [.../...]

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Tags: Aboriginal Art, Native American Art, Pre-Columbian Art, Asian Art, Oceanic Art, African Art, Interviews, Fairs & Shows


4 Questions for Pierre Moos

By Artkhade with Art Media Agency

Paris, 12 September 2017

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-You have directed Parcours des Mondes since 2007. How do you view the evolution of the fair and of the tribal-art market?

P.M.: Parcours des Mondes was created in response to a demand from tribal-art dealers. As its name indicates, this fair is an international event, open to all forms of extra-European artistic cultures. For around ten years now, we’ve been working on our communication strategy for the event: we devote 80 % of Parcours des Mondes’ proceeds on expenses relating to press relations, advertising and marketing. This publicity, coupled with that associated to the auction sale of key pieces, helps to raise awareness on tribal art all over the world, and this is positive. Finally, the recent opening up of the fair to the Asian arts proves, if proof were still necessary, the major role of Paris on the global art market. All these elements explain why Parcours is the world’s most important fair in tribal art today… To give you an idea, some dealers who take part in the event produce, in just a few days, three quarters of [.../...]

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Tags: African Art, Oceanic Art, Asian Art, Pre-Columbian Art, Native American Art, Aboriginal Art, Fairs & Shows, Interviews


3 questions for… Didier Claes

By Artkhade with Art Media Agency

Brussels, 4 September 2017

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  • How do you explain the growing interest in African art?

D.C.: The market has evolved considerably in the last decade. With the first major public sales of African art, for example the sale of the Hubert Goldet collection in 2001, works reached heights sometimes going over the million-euro mark, which was something completely new. Next, let’s not forget that the major auction houses would traditionally organise their sales in Amsterdam, London or New York. Now, Sotheby’s and Christie’s each hold two African-art sales per year in Paris. Fairs such as the Parcours des Mondes or the BRUNEAG, its Brussels twin, have also expanded. But the main triggering phenomenon was the inauguration of the Musée du Quai Branly – Jacques Chirac, a great step for the acceptance of this art. For dealers, the role of these institutions is primordial as they enable offering a less ethnographic view of these collections; the public would now see an African-art object as it would see a painting. And we hope to obtain the same impact in Belgium with the [.../...]

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Tags: African Art, Art Market, Interviews


3 questions for… Alain de Monbrison

By Artkhade with Art Media Agency

Paris, 3 September 2017

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  • What, in your opinion, is the main asset of the Barbier-Mueller collection?

A.d.M.: First of all, the fact that it’s gathered very coherent sets of objects, as precious as they’re simple. The archaeological bronzes of the Vietnamese Dông Son civilisation comes to mind, but also the African chairs, a legacy of Josef Mueller that Jean Paul Barbier-Mueller took care to add to. It’s also a universal collection which gathers objects from Africa as well as Oceania or Indonesia. Not forgetting its Pre-Columbian art objects which comprise a key collection. It’s also exceptional for the rarity of certain pieces that are listed nowhere else… and for the beauty that unites all the objects.

  • How was Jean Paul Barbier-Mueller a great collector?

A.d.M.: For his eye that was so unique and accurate… and his great erudition. Jean Paul Barbier-Mueller was a cultivated man who left nothing to chance. When he started up a collection, he invested in it entirely. He studied every object, consulted the best ethnologists and historians. He [.../...]

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Tags: Asian Art, Pre-Columbian Art, Oceanic Art, African Art, Interviews, Events


Sophie Makariou: a “new impetus” for Guimet

By Artkhade with Art Media Agency

Paris, 1st September 2017

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Sophie Makariou, president of the Musée National des Arts Asiatiques, takes the mike. An hour on cultural policy, the transmission of knowledge, redeployment of the collections. Between heritage and contemporaneousness…

Her itinerary is impeccable, her character resilient… Studies in classical Arabic at Langues’O, followed by the École du Louvre, a postgraduate diploma in history, then the École du Patrimoine… Sophie Makariou is a woman in a hurry. She’s said to be “difficult”; above all, she’s a hard worker whose cutting intelligence has led her, in the space of a few years, to hold the reins of one of the finest Parisian museums. A heritage curator who directed the department of Islamic arts at the Louvre from 2009 to 2013, she has been president of the Musée National des Arts Asiatiques for four years now. As the new school year starts, making allusions to a “new impetus”, she outlines for us the major areas of her cultural policy.

  • **You were appointed, in August 2013, president of the Musée Guimet. Have the four [.../...]
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Tags: Asian Art, Interviews