Flak Gallery in alignment with the stars

By Artkhade

Paris, 7 May 2019

/Julien Flak

Opened in 1990 at 8 rue des Beaux-Arts in Paris, Flak Gallery has become one of the major Parisian players in the field of tribal art since the early 2000s. The latest exhibition, dedicated to navigator and long-distance discoverer James Cook, highlights the gallery’s expertise through their aesthetical and historical choices.

Edith and Roland Flak, the gallery’s founders and modern art collectors turned naturally to African art, more precisely Dogon, as their collection grew. A first exhibition in the late 90’s of “ere ibeji” twin figures which are associated with the Yoruba culture, now mainly found in Nigeria –, foreshadowed the direction of the family gallery.

“When you’re interested in modern art, it is hard to miss African art,” says Julien Flak, who joined his parents in 2002, after a career in advertising. Under his influence, primitive arts quickly took a prominent place in the gallery, eventually occupying both exhibition spaces entirely.

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Tags: African Art, Oceanic Art, Native American Art, Fairs & Shows, Interviews


Laurent Granier: A restrained collector

By Artkhade

Saint-Pol-de-Léon, 17 April 2019

/Photo Vincent Girier Dufournier

I got to know you on twitter, at the time you were posting intensively objects from the Quai Branly Museum database, curating your own virtual exhibition, mostly with unknown objects from the reserves. Your virtual exhibition ‘Early Côte d'Ivoire’ was even acclaimed by an impromptu tweet from the NY Times’ Chief art critic Roberta Smith...  

And I had the time of my life that day... It was also great to interact with a very diverse audience, from museum curators to artists or people just curious to learn. Many young collectors have a very active phase of discovery and intense learning. Going through the 300.000 objects of the Quai Branly Museum database has been the way to express mine.

How did you get that passion for Tribal art?

15 years ago I visited some colleagues, a Belgian and a French, in Dakar. They were buying African art like crazy. Of course, these were copies... but at least I had a spark for the African aesthetics and my treasure hunter sense was unlocked. Fortunately I had a [.../...]

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Tags: Oceanic Art, African Art, Interviews


3 questions for Federica Morbelli, organiser of Parcours des Mondes

By AMA with Artkhade

Paris, 8 September 2018

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What strategy are you implementing for Parcours des Mondes?

With sixteen editions behind it, Parcours des Mondes has become a leading player in the world of international tribal- and Asian-arts fairs. The legacy of these sixteen editions, all these sold objects, all these encounters, needs to be consolidated by maintaining what has been responsible for the quality of Parcours des Mondes until now: rigour in the selection of exhibitors. What makes a fair special is the diversity of its different stakeholders. In the first place, we address dealers: these are our clients, and they’re the ones we work with for six months in order to construct a rich event. But our audience is made up of art lovers, collectors, with demanding requirements. We need to find a good balance.

What approaches do you follow to strengthen this renown?

First, we wish to promote the heritage aspect of Parcours des Mondes. We’re also focusing on the need to reinvent our communication methods – we’re opening up more to social networks for example. Next, to maintain [.../...]

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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, director of Parcours des Mondes

By AMA with Artkhade

Paris, 7 September 2018

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Do you think that the fair, celebrating its 17th birthday this year, has reached maturity? Are you still seeking to enrich it with new perspectives?

I’m very proud of the renown that Parcours des Mondes enjoys today. When we took it over several years ago, the event was going downhill. Over time and with a lot of passion, we’ve worked to give it the face it has today, by selecting participants from the world’s top galleries, which isn’t so easy given that there are very few of them. This might seem paradoxical, but what you need to bear in mind is that there are around sixty tribal-arts galleries worldwide, no more. By way of comparison, if you take any building in the Chelsea district in New York, you’ll find the same number of contemporary-art galleries, if not more. Clearly, we live in a microcosm from which we’re taking the best. This year, we refused about twenty potential participants due to the quality of works – primordial in our eyes – and also due to the fact that the number of galleries admitted to the event cannot be [.../...]

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


3 questions for Stephane Jacob

By AMA with Artkhade
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What’s the dynamic of the Aboriginal art market in 2018?

2018 is proving to be an excellent year for Aboriginal art, which is continuing its territorial conquest! This interest is found not only on an institutional level, but also among private collections, fairs and auctions.

January was punctuated by the end of a remarkable eight-month exhibition, “The Boomerang Effect”, organised by the dynamic Musée d’Ethnographie de Genève (MEG), as well as an exhibition that I coproduced with the MEG and the University of Geneva on the art of “ghost nets”. To mention just a few institutions, the Museums of New Delhi, of Berlin and also, the Ubersee Museum in Bremen at the moment, have hosted prominent focuses on the art of Aboriginals and Torres Strait Islanders. We can also mention the Musée de Vichy, which is offering the public wider access to such works through its regular Aboriginal-art acquisitions.

Foundations and private collections are also doing an incredible job – like La Grange near Neuchâtel with its “Islands in the Sea” exhibition (until 28 [.../...]

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Tags: Aboriginal Art, Oceanic Art, Interviews


THE COLLECTIVE: The Grace Collection of African Art – From Pain to Passion

By Laurent Granier with Artkhade and Gus Adler & Filles

Brussels, 16 May 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.

Set up in a room at the end of the hallway, the Grace Collection of African Art benefits from a presentation which only the talent of its creator, a Belgian designer (who wishes to remain anonymous), repeatedly and internationally acclaimed for his work, could have brought to such a level. It is a visually structured space of scenes, with professional lighting, a comprehensive library, a desk for studying and a daybed for relaxing. Everything is well-considered, mastered and arranged, down to the pedestals, which are personalized with a silver Grace Collection of African Art seal. Our encounter took place in the family apartment in Brussels on January 23rd 2018.

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Tags: African Art, Interviews


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