The Auctions Database of Ancient Arts from Africa, Asia, Oceania and the Americas.
Paris, 8 September 2018
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 [.../...]See more
Paris, 7 September 2018
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 [.../...]See more
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 [.../...]See more
Brussels, 23 January 2018
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 [.../...]See more
Paris, 13 September 2017
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 [.../...]See more
Paris, 12 September 2017
-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 [.../...]See more
Besanceuil, 14 March 2017
Jean-François Schmitt is an art-lover and collector. He is a Friend of the musée du Quai Branly – Jacques Chirac and a member of the Cercle Lévi-Strauss.
Anthony Meyer is a dealer, author, and specialist in Pacific and Eskimo ancient arts and traditional cultures. He manages the Meyer Gallery of Oceanic Arts in Paris and is one of the founders of the Bourgogne Tribal Show, along with Laurent Dodier, Bruno Frey, Jacques Lebrat and Bruno Mory.
For its second event, the Bourgogne Tribal Show will take place from 25th to 28th May, 2017. You both took part in the fair’s first event, one as a dealer, one as a collector. Could you share your experiences with us?
Jean-François Schmitt: My abiding memory of the first event is what a pleasure it was to see tribal art in less conventional settings. The atmosphere was very different from the other fairs, far more casual and convivial.
Its location in the Burgundy region was ideal too, [.../...]See more
Paris, 6 September 2016
On the occasion of the Parcours des Mondes fair, young collector Inti Ligabue draws up a portrait of one of the broadest Italian art collections, ranging from prehistory to modern paintings via tribal art. An inventory.
*Inti Ligabue, thirty-five years old, was appointed honorary president of the 15th edition of the Parcours des Mondes fair. This year, the event is drawing to Paris 80 international galleries specialising in tribal and Asian arts, from 6 to 11 September. Inti is the son of Giancarlo Ligabue, who passed away in 2015, and who gained renown as an archaeologist, palaeontologist and collector, as well as a political figure and businessman at the head of Gruppo Ligabue, a hundred-year-old family business dealing in food freight and services, present on every continent. This eminent Italian public figure left behind an incomparable legacy, including an extraordinary art collection covering a few thousand years. To carry on this adventure, Inti Ligabue launched, in January [.../...]See more
London, 27 August 2016
Bryan Reeves has stood for a certain vision of tribal art and culture ever since he launched the Tribal Perspectives fair in 2007. Since then, the event has grown, changed its name and venue by moving into The Mall Galleries to become Tribal Art London. At the start of September, Art Media Agency with Artkhade went to London, winding through the fair’s alleys, to meet Bryan Reeves.
B. R.: I like introducing Tribal Art London as a cultural fair. Our exhibitors cover all fields of tribal art around the globe, and we have a well-developed conference programme, offering debates in fields as wide as culture or ethnography — the aim being to increase understanding of tribal art without contenting ourselves with merely being a strictly commercial fair. Today, the fair is heading to its ninth birthday. When we started, we were no more than a small exhibition with three dealers — “Tribal Perspectives”. We gradually developed the fair, then moved to a fantastic spot, [.../...]See more
Paris, 24 May 2016
Julie Arnoux is executive director of the Friends Society of the Musée du Quai Branly. For twelve years, she has been in charge of this association that supports the museum’s development and renown. Alongside this role, she set up, three years ago, Delvoyeurs. This project, shared with three founding partners, aims to design and promote exhibitions, develop editorial projects, produce contemporary artistic works, and support cultural players in their development strategies. Art Media Agency met her also to discuss the organisation of the Bourgogne Tribal Show (from 26 to 29th May).
J. A.: The Bourgogne Tribal Show comes from a fairly zany idea thought up by four dealers specialising in the so-called “primitive” arts: Laurent Dodier, Bruno Frey, Jacques Lebrat and Anthony Meyer. Their project was to set up a festive, convivial event in a different place. They [.../...]See more