The Auctions Database of Ancient Arts from Africa, Asia, Oceania and the Americas.
Paris, 7 September 2018
The Aboriginal arts of Australia may be diverse, but they’re characterised by a certain unity and a distinctive identity. An identity that is expressed in multiple ways and variations, all inspired by the common theme dubbed as the “Dreamtime”.
They call it the Dreamtime. Sometimes alternatively written as the “Dream Time” or “Dream-time”, this concept was named by Francis James Gillen, a pioneer in the field of scientific anthropology, who used it to describe the mythology of the Arrernte (from central Australia), one of the 600 Aboriginal ethnic groups that were identified at the time. If there are different ways to write the term, it’s because it’s the translation of the word “Altyerrenge”, drawn from one of the indigenous languages that have existed in Australia for several thousands of years. This lexical hesitation translates our awkwardness in importing a given idea and its representation from another culture. But even if the Dreamtime may be hard for Westerners to grasp, it is nonetheless a key to the Aboriginals’ [.../...]See more
Paris, 7 January 2016
In 1990, the American professor Joseph Nye developed, in his book Bound to Lead: The Changing Nature of American Power, the idea of “soft power”. Used in the field of international relations, this concept describes the ability of a political actor to influence indirectly – by means of structural, cultural or ideological – and without coercion, the behaviour of other actors.
Twenty-five years later, Gail Dexter Lord -co-founder and co-president of Lord Cultural Resources– and Ngaire Blankenberg – senior consultant at Lord Cultural Resources -proposed an update of the concept of soft power, by operating in particular a displacement of its scope (Cities, Museums and Soft Power, The AAM Press, 2015). Art Media Agency met Gail Dexter Lord for more information.
Soft power means the will and ability to influence people and cause behaviour through peaceful and cultural means. It is opposed to hard power, more coercive.
Today, we think that it is [.../...]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
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.
Paris, 17 January 2014,
The Parisian Musée du quai Branly, dedicated to the arts and civilisations of Africa, Asia, Oceania and the Americas, has announced its receipt of a record number of donations in 2013.
Works donated to the institution include: 2,950 watercolours, drawings, studies and other documents by the artist Paul Jacoulet; a work by Aboriginal artist Lena Nyadbi; a rare sculpture from New Ireland (Papua New Guinea), as well as an exceptional Dogon piece. The museum’s collection has increased by 2,994 works in total – an expansion which includes the addition of 268 photos, with a combined value of €5,175,093. Donations have supplemented the museum’s 2013 acquisitions budget of €1,134,986.
The Musée du quai Branly is home to a collection of 300,000 works and objects from Africa (89,000), Asia (72,000), Oceania (33,000) and the Americas (106,000), of which 3,400 are exhibited in its “plateau de collections” room. The museum’s valuables also include two other important collections – [.../...]See more
Paris, 10 September 2013
Tribal Art has witnessed a long and complex evolution, with European art history oscillating wildly in its attitude to the genre. Once referred to pejoratively as ‘primitive art’, tribal art has since been recognised for the important influence it had on the works of Expressionist, Surrealist and Cubist artists. Now, the field is recognised as rich and diverse, with museums, galleries and collectors across the globe placing an important focus on the works of indigenous peoples from Africa, North America and Oceania. Artkhade with Art Media Agency examined the platforms which are specialising in the genre today, looking at the presence of Tribal Art in Galleries, Museums, at auction houses and in dealerships.
A Slow Rise to Success
‘Primitive art’ is now recognised as a dismissive term, connoting an outdated Euro-centric attitude which coincided with the height of imperialism, colonialism, and the exploitation of countries by the West. The title connoted the belief that [.../...]See more
Geneva, 15 january 2013
Art Media Agency met with Dr Kilian Anhauser, who gracefully answered our questions about conservation and restoration problems.
Art Media Agency: Could you tell us of your career so far? What led you to study the ageing processes of artworks?
Dr Kilian Anhauser: As a Chemistry student, I was already interested in art history and the materiality of the works. As a consequence, I chose to study gilding and silvering on metal techniques for my dissertation. In this work, I combined historical study of ancient techniques and scientific analysis of archaeological and historical items, along with an actual work of recreation of ancient gilding and silvering. After a post-doctorate at the Berlin Museums’ scientific laboratory, I was appointed lecturer in Conservation Science at the Cardiff University in 1998. I taught the variety of materials present in cultural objects, and the physical and chemical mechanisms responsible for their deterioration. This course was intended for students in conservation/restoration and archaeology. In 2003 I [.../...]See more