The Auctions Database of Ancient Arts from Africa, Asia, Oceania and the Americas.
Paris, 5 January 2016
Fraud, money laundering, trafficking in cultural property, tax optimization, artificial increases of prices, confidentiality and anonymity… many dangerous hurdles, attributed to the art market, that for many elude to rules that have become an imperative necessity. Among the scandals involving diverse spheres of personalities and perplexed records in auction sales, we can equally cite a loss in standardisation and harmonization in the legal international disposals and especially the specificities of a lost market by subjectivity – justifying an irregularity and exaggeration of prices. The whole thing is encircled by an opaqueness and rigour silence. So which solutions are implemented today, for more clarity on the market that condenses as many singular facts?
The unexplored darkness of the tired and shaking art market
The USA Today, after the success of the autumn sales in New York, headlined: “Has art become a criminal enterprise?” Soaring prices, sometimes verging on irrational, leaves some [.../...]See more
Dallas, 25 September 2015
On 25 September 2015, the Dallas Museum of Art (DMA) has celebrated the public opening of its new third-floor Arts of Africa Gallery.
The museum’s Arts of Africa gallery is the first major redesign in nearly twenty years and the new space will feature more than 170 works from the museum’s African art collection. “The opening of the new Arts of Africa gallery offers a fresh perspective on the DMA’s exemplary collection,” said Maxwell Anderson, the Eugene McDermott Director. “We are excited to present several works that have been recently acquired or off view for some time, and to welcome a broad public to learn about the rich heritage of sub-Saharan Africa.” The collection features art from the Songye and Luba cultures in Central Africa and the Yoruba and Edo (Benin kingdom) in West Africa.
Representing and revealing the extraordinary diversity of sub-Saharan cultures and visual traditions, the gallery is installed in fived sections according to the themes of the art of [.../...]See more
Luanda, 22 August, 2015
Congolese collector Sindika Dokolo is launching a vast campaign to return works stolen in Africa during the colonial period.
To carry out this endeavor, the Sindika Dokolo Foundation in Louanda, Angola, has called upon a team of specialists to discover works that were pilfered during colonisation in private collections and auctions. Where applicable, the owner is asked to resell the work to the foundation at their purchase price or be sued for theft. In this regard, Sindika Dokolo told the New York Times: “There are works that disappeared from Africa and are now circulating on the world market based on obvious lies about how they got there.” This radical position has certainly stirred up opposition. Interviewed by Art Media Agency, Belgian tribal art dealer Pierre Loos expressed his reservations on the query, “Shouldn’t all the Picasso’s be in Spain? […] Returning to the logic of restitution is to open Pandora’s box. Those who profit are not art lovers, but those [.../...]See more
Denver, 24 July 2015
On 13 July 2015, the Denver Art Museum (DAM) in Colorado, United States, announced the nomination of Tianlong Jiao as curator of the Asian art department.
After ten years of experience working in various museums, Jiao is joining the DAM. He previously worked as chief curator at the Hong Kong Maritime Museum and also as Chairman of the Bishop Museum’s Anthropology department in Honolulu, Hawaii. Just before joining the DAM, Jiao worked at the Asian Art Museum of San Francisco, as curator of the Chinese art collection since September 2014. In the past, he has organised international travelling exhibitions which were hosted by museums including the National Palace Museum, in Taipei, Taiwan, and the Nanjing Museum, in China. Tianlong Jiao will join the staff at DAM in September 2015, where he will continue the museum’s commitment to bringing international exhibitions to Denver. “The scholarly depth of his experience with Asian art is impressive, and he will bring a new lens to [.../...]See more
Paris 16 July 2015
Jérôme Bastianelli was appointed Managing Director of the Musée du Quai Branly in Paris, where he will take office beginning 13 July 2015.
Jérôme Bastianelli succeeds Mouttalib Karim, Deputy CEO of the Quai Branly Museum since 2009, this year named General Director of the Louvre Museum. He has occupied, since 2009, the functions of assistant Director General Deputy Delegate of the Quai Branly Museum, under Stéphane Martin’s presidency. Inaugurated in 2006, the museum of arts and civilizations of Africa, Asia, Oceania and the Americas, is one of the most visited museums in the world in its category, with around 1.5 million visitors a year.
A former student of the Ecole Polytechnique, Jérôme Bastianelli was posted in the Ministry of Transport from 1996 to 2006. He was also a reporter at the 7th Chamber of the Court of Auditors from 2006 to 2009, as well as the leader of the external audit United Nations Educational, Scientific and Cultural Organization (UNESCO).
Paris, 15 May 2015
In 1920, many artists in Western Europe harboured a deep contempt for materialist bourgeois society and its arrogant faith in science and technology, a society which, since the First World War, the Dada movement had aimed to disturb with their provocative works. In 1920, however, new means of expression were being developed, and non-European objects had become increasingly common. More than 30 years prior to this, Gauguin had turned towards traditional Oceanian cultures to find the necessary resources for the new means of expression that he wanted to develop, starting by acquiring two Minkissi statuettes from the Congo, which he displayed at the Exposition Universelle de Paris in 1889. A little later, in the 1900s, Picasso became inspired by traditional Congolese art, particularly for his Demoiselles d’Avignon (1907). Unlike Western tradition, the so-called “primitive” artists attempted neither to reproduce nature, nor ideal beauty, offering an alternative to the Western tradition that was in crisis [.../...]See more
Paris, 2 March 2015
Self-proclaimed “painter, sculptor, performer, who is constantly anxious yet fascinated by being ‘there’ without any understanding…” Olivier de Sagazan is a philosophical artist who takes his inspiration from Africa, where he was born, staging performances of terrifying dances which reflect his constant preoccupation with the meaning of life. AMA spoke to him and delved into the worrying world of this astonishing artist.
O. S.: After my MA in biology, I had the chance to go to Cameroon for two years. These years really saved me, allowing me to take a step back and return to my roots: Africa, where I was born. Just before I left, I discovered, by looking at a Rembrandt painting, another amazing way of questioning life. Coming back, I spent a year locked up working on a comic strip, Ipsul ou la rupture du cercle, and then I immersed myself in painting and sculpture. Performance was something I worked on later, as a [.../...]See more
Boston, 1 May 2014
The Curator’s Eye has announced a selection of tribal and ethnographic art which can now be found online.
The site presents pieces from different origins: African, Native American, Oceanian and pre-Columbian. Amongst notable lots are: a Marquesas Island Club (1700-1830), adorned with a sculpted head of a Tiki (image of a Polynesian god), as well as a Nañaka (1770-1830) — a woman’s ceremonial overskirt exclusively woven by the Aymara women in the town of Toropalca, Bolivia. For lovers of African art, there is a Stylistically Dynamic Zoomorphic “Suruku” mask (1890-1920) also to be presented on the site.
The addition of tribal and ethnographic pieces to the online platform coincides with the final preparations currently underway for the New York Tribal Art Week, to take place in May.
Milan, 8 April 2014
According to The Art Newspaper, Milan’s Museo delle Culture, a museum for non-European art, is forecast to open in October 2014. It is a project which has so far cost the city €60 million, and has been in the pipeline since 1999.
The museum, designed by the British architect Sir David Chipperfield, serves as a collaboration between public and private spheres. The city of Milan is to oversee the museum’s permanent collection, whilst a private company is to be in control of the institution’s commercial enterprises, education programme and the organisation of two annual temporary exhibitions.
When the museum does open its doors to the public, it is to house 780m2 of permanent exhibition space and 1,500m2 of temporary exhibition space, enabling it to showcase a great variety of non-European works ranging in origin from pre-Columbian to modern and contemporary art. The museum’s permanent collection is to draw from the city’s extensive resources and is to be overseen by Marina Pugliese, the Director [.../...]See more
Paris, 2 April 2014,
Artcurial has announced the opening of a new department dedicated to tribal art. According to the auction house, this venture has been prompted by a string of successful sales, notably, the collections of Louis Carré (2002), Baudouin de Grunne (2006) and Alex Van Opstal (2008).
The department is to be led by Florence Latieule, a specialist in contemporary art. Lucas Ratton, an expert in African art and the founder of the eponymous gallery on Paris’s Rue de Seine, is to take up the position of consultant. Bernard de Grunne, a Belgian historian specialising in tribal art, is to become the department’s advisor on scientific and cultural plans.
Despite the fact the department is only in its first year of action, Artcurial have already announced two sales to take place this year: the first on 16 June, and the second scheduled for a date in December.