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Art Gallery the Eye and the Hand

Musée du quai Branly



Musée du Quai Branly
05th April 2011 to July 4, 2011

The exhibition features 330 stunning art pieces gathered for the first time and from collections around the world. It provides a chronological overview of the art of the Dogon eighth century to the present day, reflecting its rich diversity of styles, from first contact with Tellem to the development of European taste for the masks and sculpture in the twentieth century. The exhibition shows the impact of migration and subsequent contact with other Dogon peoples of the region's culture and art Dogon. It places a unique technical expertise conducted on the patina of statues and disclaims typologies of everyday objects and daily virtuosic and varied techniques, often presented in terms of major pieces of statuary.

primitive art
Sixteenth century seventeenth century eighteenth century nineteenth century twentieth century
Helene Leloup

Image Exposition Fleuve Congo - les ethnies

The works are presented in a geographical journey of productions ranging from West to East, both from Gabon to Congo:

* The Fang peoples and related
* The Kwele
* The Mbede-Kota
* The Tsogho, Galwa, Aduma, Vuvi and Teke (Tsaayi)
* The Ngbaka, and Ngbandi Ngombe
* The Mbole, Yela, Metoko, Komo, Jong, Lengola and Kela
* The Lega and Bembe


THE KWELE: they live on the northern border of the Republic of Congo, and have used a type of mask called Ekuk, they are flat masks, which have incised eyes, often a white face in a heart-shaped nose triangle-shaped eyes and coffee bean. these masks were hung in homes rarely worn during ceremonies, initiation Bwetes worship, their function was to conduct a village to enable forces are beneficial Bwetes capita.

THE KOTA: Living in the eastern part of Gabon, on the border with the Republic of Congo, Kota, include a number of tribes, such as Mahongwe the Sango, the Obamba, and Shamay, who practice the same rituals and shared cultural traits. They probably migrated southward during the 18th, and now live in the valley of the river, Ogonoué in a forest environment. from their economic resources, sutout hunting and agriculture. Kota the past, had the habit of leaving their dead exposed to the elements in the forest. Under the influence of neighboring tribes, they began to bury their cefs and keep their bones (mainly the skull) to place them with other objects cargas magical powers in bark boxes or baskets called Bwetes.

the baskets or boxes reliquaries were kept for generations but in the twentieth beliefs Kota, changed and worship Bwetes was often abandoned. In 1964 a religious movement called the cult of the young ladies, was responsible for the destruction of most traditional items, remaining. This movement was based on the belief that one could develop the strength of the ancestors by imitating their values and customs.

The baskets reliquaries, Bwetes, kept in a special closed space placed at the bottom of the chief's hut were the focus of offerings and prayer whose purpose was to bring prosperity to the clan. During the initiation ceremonies for boys, several of these boxes representing the clans and families were pooled, strengthening unity among the different components of the tribe

At the top of Bwetes was placed a statue with a body highly stylized diamond shape, and a large head covered with copper sheets. The back of the head is usually left in the rough, but sometimes a geometric pattern it off. janiformes statues are rare and less than 5 copies, with a stylized body are known. but we do not know their function.


Kota the masks are rare, they are mainly masks helmets with features simplified, tubular eyes and large eyebrows incised under a coiffre crête.sous in a hairstyle peak, often covered with white pigments they occur during initiation ceremonies .


Six regional styles, different statues Kota, were differentiated. statues Maongwé Osyéba also called) have a bullet-shaped face, covered with copper horizontal son.

Shamay statues, have a face and almond shaped, covered with sheets of copper and son, surrounded by two lateral extensions.

The oval face is covered with statues Obamba sheet metal and surrounded by two extensions, lateral and a high headdress.

KOTA statues, whose face is oval and a hairstyle show two side extensions ending with a horizontal line.


Kota the bells were sometimes decorated with figures of characters that may represent ancestors, they used high-ankle, the deep incisions, probably serving as a dowry given their excessive weight. of throwing knives whose shape evokes a bird's head was probably used for ritual purposes. for dignitaries and artists have created Kota concave stools covered with copper sheets and supported by 4-foot concave.

The Teke: The Teke live in a territory that extends between the Republic of Congo, the Democratic Republic of Congo, and Gabon. During the fifteenth they were associated with the Tio kingdom but became independent in the seventeenth, they aujourd'ui abitent in villages led by clan elders, called Mfumu, subject to the authority of a territory of cef. Their economy is based primarily on maize, millet and tobacco, but the Teke are also advised fishermen and traders, they believe in a supreme god Nzambi, whose favors can be obtained through tutelary deities.

Teke artists have essentially created statues surrounded by material called Bilongo fetishes that protect the Teke, the owners of these fetishes can detach bilongo and integrate with other statues that will be sold to neighboring families leaving the original statue with an emaciated body.

MASKS: Teke masks are worn by members of society Kidumu during the funeral of their chiefs or for marriages and other important ceremonies. Circular in shape they are divided horizontally by a band. their surface is decorated with geometric designs painted with black pigment. many copies of these masks were made for Europeans.

THE STATUES: statues created by artists Teke have legs shortened and slightly bent, torso framed by elongated arms bent at right angles and a large head bearing scars, linear trapezoid and a beard, their size varies between 15 and 80 cm. They can be used by an individual or by the entire community.

shape bilongo often indicates the function of the statue, such statues are known mutinu bmamba bilongo cylindrical and are used to help women during childbirth. Statues Matomb have bilongo barrel-shaped which gives them an apotropaic function. Butti statues represent ancestors, in their fetishes bilongo materials such as nails or hair of the deceased have been incorporated. Recognizable, their shiny patina they often wear a necklace, metal iemportance identifying the ancestor's played.

Other statuettes known itéo to symbolize the spirit of happiness characterized by a cone of white ground surrounding the body, they were carefully guarded by the families during the hunting expeditions or Teke are sometimes small anthropomorphic fetishes .

brass statuettes and maternity wards are rare function is unknown.

EVERYDAY OBJECTS: artists have created Teke neck restraints adzes, and hunts flies decorated with human faces, these objects were used to display the prestige of their owner, manager or significant, large bronze necklaces decorated with geometric indicating the status of their wearer.


hundred and fifty thousand mbols live on the left bank of the River Zaire, in the heart of the Democratic Republic of Congo. they migrated north of the river lulab during the 18th century. MboI villages are independent, run by an elected chief of the elders of each family. the main resources are cassava and rice, grown by women while the men hunted. three companies structure the lives of MboI:

Ekanga reserved to the healers,

The Otuku for women leaders.

Lilwa and society who control most of the rites of social and religious life of the criconcision to death, through various initiation ceremonies. cef known as Isaiah, plays an important role in village life

Congo River Exhibition from June 22 to October 3, 2010 - Quai Branly -
Practical information

Date: Tuesday, June 22, 2010
on Sunday, October 3, 2010

Times: Tuesdays, Wednesdays and Sundays from 11h to 19h Thursday, Friday and Saturday from 11am to 21pm

Location: East Mezzanine

Fares: Ticket collections

37 Quai Branly
75007 Paris
01 56 61 70 00
Metro: Iena


The Musée du Quai Branly This summer, through 170 documents and 80 major works, a major exhibition devoted to the artistic traditions of Central Africa, including Gabon, Republic of the Congo and the Democratic Republic of Congo.

Real journey of leading the visitor of the northern forests to savannas, South exhibition demonstrates the links between works produced in the regions bordering the Congo River, for various populations of Bantu languages.

Behind the variety of masks and sculptures Fang, Hemba, kweli or kota, the exhibition highlights the major works of Central Africa, in their design, structure and artistic connections that bring them closer.

The three themes of the exhibition, common core to these peoples iconophiles are complementary:

* Masks and statues with the "heart-shaped face, and ensure the unity and identity of the respective groups;
* The importance of the founding ancestor and prominent members of his lineage;
* The representation of women in the kingdoms of the savannah, balancing the authority of men, with the mystery of regeneration of the land, agriculture, human life.

Central Africa is inhabited by many human groups, each with its own identity. Despite their differences, even their opposition, they were expressed in common language, similar institutions were using, binding their worldview in initiation rituals and therapeutic, dances and incantations addressed to the spirits of nature and their ancestors. Cultural ties that connect its people covering the vast forests and savannas subequatorial also exposed in their material productions. The major works presented here demonstrated.

Francois Neyt, curator

The works are presented in a geographical journey of productions ranging from West to East, both from Gabon to Congo:

* The Fang peoples and related
* The Kwele
* The Mbede-Kota
* The Tsogho, Galwa, Aduma, Vuvi and Teke (Tsaayi)
* The Ngbaka, and Ngbandi Ngombe
* The Mbole, Yela, Metoko, Komo, Jong, Lengola and Kela
* The Lega and Bembe

Présence Africaine

a forum, a movement, a network

Mezzanine East
Tuesday 10 November 2009 to Sunday, January 31, 2010
curated by Sarah-Frioux Salgas

African presence is the literary and cultural journal founded by Alioune Diop, the Senegalese intellectual in 1947, also became a publishing house from 1949. It was an outreach tool that has enabled black writers and intellectuals to assert their cultural identities and historical context that the colonial or denied "exoticizing.

This exhibition presents numerous books and archival documents, photographs and some objects. Sound recordings and audiovisual also occupy an important place: historical documents and interviews conducted specifically for this exhibition punctuate the route.

These give to see the emergence and influence of a movement, a forum for thought and demands of the black world at a time when much of the West had a distorted view, or derogatory.
route of exposure

The exhibition will feature four sections, preceded by an introductory sequence.
Exhibition opening

It is an object Dogon who happens to be the symbol of the journal, which will open the exhibition. It will present a brief review and the publishing house Présence Africaine, and to recall the relevance of such an exhibition today. Interviews with leading lights of the movement will be released.
The Black Atlantic Division 1 of Pan-Africanism to blackness

Présence Africaine is the heiress to a share of "black news" that existed in France in 1920-1930, and secondly, an international cultural and political movement.

Four major sets are distinguished in this sequence, with both the cultural, political and related to the Parisian intellectual "negro vogue" and the international nature of the debate:

* Influences of black Americans and intellectuals in Haiti
* Paulette Nardal and literary salon
* Advocates for equal rights, against colonialism and against apartheid
* Negritude

This section presents mainly archival material, including copies of previously unpublished black press committed to two wars, and the Journal of the black world of Paulette Nardal
Section 2 of the magazine and publishing house Présence Africaine: a project commitments

This sequence presents the project and what were the commitments of African Presence and how its founder, Alioune Diop, managed to unite all stakeholders in the black diaspora.

Presence Africaine published all the great texts of Césaire and has participated in the dissemination, by an English translation of the text on the blackness of Jean-Paul Sartre's "Black Orpheus" (1948), and has also published the famous book by Sheikh Anta Diop, Nations and Cultures Negro (1954).

Two large groups are distinguished in this sequence:

* Creation of the magazine: "N'iam goora or rationale of Presence Africaine"
* Editorials commitments: the inventory of black cultures in anti-colonialism

This section will include manuscripts of exceptional Sartre and Breton, as well as original photographs by Alfred Metraux. Major movements and figures of history and black culture will be discussed, such as the Black Panthers or Malcolm X.
Section 3 1956-1959: black intellectuals debating. The Congress of Black Writers and Artists (Paris Sorbonne, 1956 - Rome, 1959)

Two congresses of black artists were organized by Présence Africaine: two events of 1956 and 1959 have indeed been initiated and largely organized by Alioune Diop, who has tried to apply in practice, the principles developed in his editorial commitments.

The aim of these congresses, which take place at the times of colonization, the Cold War, apartheid and racial segregation in the United States, was to make an inventory and an inventory of culture in Africa to reflect on the situation of blacks in the world. This sequence is thus an opportunity to discuss the debates that animated the literary and intellectual black from 1950-1960.

Copies of original posters designed by Picasso for the two congresses, photographs and audio recordings unreleased illustrate this section.
Section 4 Dakar 1966: African Art in Africa

By organizing the two conferences, African Presence has provided a forum for intellectuals and writers of the black diaspora. By initiating and participating actively in the organization of the First World Festival of Negro Arts in Dakar (1966), Presence Africainepoursuit his work valuing the richness and diversity of artistic practices but also Africans in the diaspora.

This festival is the first major cultural event held in Africa by a young independent African state. This event was therefore also a strong political challenge to Leopold Senghor Lédar, president of the young republic of Senegal.

Three main sets are distinguished in this sequence:

* First organization in Dakar World Festival of Negro Arts (April 1966)
* Multiple events during the festival
* Exhibition "negro art" in Dakar (April 1966) in Paris (Grand Palais, June 1966)

In this section, in addition to posters and programs of the era, are presented some of the exhibits in Dakar at the exhibition of 1966. A video installation also gives an overview of the wealth of performing arts at the festival.

African Art / African Art / primitive art / primitive art / primitive arts / art gallery / art Tribal / Tribal Art / Africa / Africa / eye and hand / first art gallery / buy / sell / expertise / expert / exposure / exhibition / collection / collectors / Paris / work / Verneuil / antiques / antique / museum / museum / mask / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com

Artists Abomey

dialogue on an African Kingdom

Mezzanine East
Tuesday 10 November 2009 to Sunday, January 31, 2010
Commission: Gaëlle Beaujean, head of collections Africa Branly

with the collaboration of Joseph Adande, art historian at the University of Abomey and Ahonon Leonard, manager and curator of the site of the royal palaces of Abomey

This exhibition presents 82 works through graphics and 8 elders, artists of the kingdom of Dahomey (1600-1894), in present-day Benin.

Its purpose is to present their works but also to question their role and status within society danhoméenne, and more specifically in the capital Abomey. Indeed, the artists chosen by the king, enjoyed great privileges while being constrained by their allegiance. The exhibition will explore their creations through the different functions of art in Abomey.

It is also to involve artists and families of artists in each type of objects presented. This new approach is the result of a research conducted by the research team, which resulted in an award-sometimes very finely certain objects.

The exhibition will last a double look at the works presented: the country of origin (through the participation of two scientists from Benin) and the French commissioner.
route of exposure

After an introductory space with an old map and a genealogy of the kings of Abomey, the exhibition presents the status and role of the artist in society danhoméenne five sequences.
memory for names

This sequence presents the sculptures of six artists identified namely, relatively rare in African art. Y will present a few masterpieces of the art of Abomey, including the statue of the god Gou Akati Ekplékendo, or statues of kings and Glélé Béhanzin of Sossa Dede
the court artist, Master - used

Will be discussed in this sequence to explain the place of artists: How do you become? What are the benefits of the Master, the indices of enslavement?

Artists created for the king regalia and narrate his exploits. This sequence will bring together the royal emblems and works bearing the official story.

It will include a recade precious ivory, two thrones marking the king's power so impressive.

Information in the field have identified the use and locations of certain works in the palace. The Kings had exotic objects, typologies such as sculptures ibeji (Yoruba statuettes of twins).

Under the term "treasure Behanzin" gathered some of the documents seized by the French officers. Part of this "treasure" constitutes almost all of this sequence.
the distinction in the arts

The artists also accounted for dignitaries and soldiers, by the Amazons. Possession of works from the royal workshops was a privilege.

Four categories of people were so honored:

* Premier or migan: very close to the king, he was responsible to execute prisoners during the annual custom designed to communicate with royal ancestors
* The Amazons, women soldiers of Dahomey
* The priest Hêviosso (god of thunder)
* Diviners for which artists were making equipment geomancy

This sequence shows including two knives and held that the Minister concerned for beheadings, and the priest of the precious recade Hêviosso.
on the walls of the Palace

Abomey artists are finally intervened on walls, doors, pillars of the royal palaces. The exhibition of bas-reliefs and wooden doors from the palace.

Next, acrylics on canvas by artist Cyprien Tokoudagba will address the reality of contemporary art in Abomey, alive and inspired works of art workshops royal past.

African Art / African Art / primitive art / primitive art / primitive arts / art gallery / art Tribal / Tribal Art / Africa / Africa / eye and hand / first art gallery / buy / sell / expertise / expert / exposure / exhibition / collection / collectors / Paris / work / Verneuil / antiques / antique / museum / museum / mask / mask / statue / sculpture / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com

The Age of Jazz

exhibition poster's century jazz

Garden Gallery

exhibition ticket or ticket matched

March 17 to June 28, 2009

Commissioner Daniel Soutif

Jazz, along with film and rock, one of the major artistic events of the twentieth century. This hybrid music marked the global culture of its sounds and rhythms.

The exhibition, designed by the philosopher and art critic Daniel Soutif, presented in chronological relations between jazz and graphic arts throughout the twentieth century.

From painting to photography, from cinema to literature, not to mention the graphic or comic book, the exhibition shows more particularly the development of jazz in Europe and France in the 30 and 40.

e route of exposure

Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin
Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin

The exhibition is divided into ten chronological sections connected by a "timeline", vertical window through which the exhibition will bring together works, objects and documents, scores illustrated posters, records and folders, pictures ... entrusted to evoke directly the main events in the history of jazz.

This structured timeline by year is the common thread of the exposure that follow the sections are themselves divided into themed rooms or monographs.
1. Before 1917

It is obviously impossible to precisely date the "birth" of jazz. But for a long time, it is widely considered the year 1917 as a decisive turning point. This date is marked by two decisive events: one is the closure of Storyville, the red light district of New Orleans, including the famous places of entertainment have been a crucible of jazz (crucible whose disappearance will cause immigration musicians to the northern United States, Chicago and New York in particular), the other pivotal event is the recording if the first jazz record, at least the first disc displaying the word "jazz" on its cover ( or, more precisely: "jass"). This 78 laps of the Original Dixieland 'Jass' Band had two titles: Livery Stable Blues and Dixie Jass Band One Step.

The warning signs - minstrel, gospel, cakewalk, ragtime ... - the musical phenomenon that was about to overturn the century have inspired many artists well before that date, African Americans, Americans like Stuart Davis or Europeans such as Pablo Picasso.
2. "Jazz Age" in America 1917-1930

The second section reflects the great popularity of jazz which marks American culture after the First World War. This popularity is such that after its use by F. Scott Fitzgerald as one of his books, the term "Jazz Age" will return regularly to describe the entire time, even a generation, not just its soundtrack.

This section begins with the work of Man Ray specifically entitled Jazz (1919) and met several other American artists or residing in the United States as James Blanding Sloan, Miguel Covarrubias and Jan Matulka.

The King of Jazz, the extraordinary film by John Murray Anderson dedicated to Paul Whiteman, mark as a bunch of fireworks by the end of these years we also say "crazy".
3. Harlem Renaissance 1917-1936

One of the most remarkable period of the "Jazz Age" is the emergence in Harlem (but also in other major U.S. cities) of African American culture. The music is certainly the most important aspect.

Under the guidance of some leading figures such as Carl Van Vechten and Winold Reiss, many artists (African-American or not) occurring during 20 years a considerable amount of literary works as visual music are often much more than a favorite subject. This section of the exhibition is an opportunity to discover, among other paintings, drawings and illustrations of Aaron Douglas, Archibald Motley, Palmer Hayden and Albert Alexander Smith.
4. "Jazz Age" in Europe 1917-1930

The story is fairly well known to the European discovery of syncopated rhythms made by the military orchestra of James Reese Europe, which was soon followed by shows from Harlem and, especially, the famous Revue negro who made Josephine Baker the darling of Paris - and a star of Paul Colin Poster Art.

Jean Cocteau, Francis Picabia, Kees van Dongen Fernand Leger, the virus penetrate jazz during the inter-war period all aspects of the culture of the old continent. In 1918, the Dadaist Marcel Janco entitled Jazz a large canvas ... This section also discusses the trip to Paris for a few figures of the Harlem Renaissance, as Albert Alexander Smith.

It will be up to the task Paul Colin illustrate this "black Tumult" through his famous portfolio.
5. Swing Years 1930-1939

At the "Jazz Age" succeeds fashion of Swing and big orchestras, including those of Duke Ellington, Count Basie, Benny Goodman or Glenn Miller, who will dance crowds on the volcano in the Thirties.

With the advent of sound cinema, many films from that era, and famous artists draw their inspiration from the seductive beat of syncopated jazz, as Frantisek Kupka realistic or regionalist Thomas Hart Benton. During this period, most artists emerged in the context of the Harlem Renaissance, Carl Van Vechten as have naturally continued to work while other African-American painters like William H. Johnson begin their careers.
6. War Time 1939-1945

The Second World War was dramatically throughout the world culture. Armed with music and other V-Discs will be on all fronts. As a jazz and its repercussions in other artistic fields not of course escape the attacks of this cataclysm. Thus, it was during these years that Piet Mondrian, who emigrated to New York, discovers that determines the Boogie Woogie in an essential way his final masterpieces. During that time in Paris, while the outfit (Zoot Suit!) Of "Zazous" - probably so named from a song by Cab Calloway - ironically manifest opposition, albeit without great risk to occupant, Dubuffet takes some time passion for music are listening to these young people and draws some beautiful paintings and lively drawings. Matisse, meanwhile, prepares his famous Jazz in 1943 ... As American dance, the Jitterbug is now not the day, greeted by a magnificent series of paintings by William H. Johnson.

Events of major importance for the future, the end of this decade saw a young unknown designer named Alex Steinweiss, produce for Columbia's first album cover ...

7. Bebop 1945-1960

The end of the war coincides with the advent of Bebop, musical revolution launched by Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis and others. Jazz is modern.

Hand painting, Abstract Expressionism or Action Painting, is about to emerge. Some of the figures who will star find their inspiration not only among European artists exiled to the United States during the war, but also in the jazz music they listen without interruption, as is the case of Jackson Pollock. Figurative, but close by the spirit of this movement, the painter Larry Rivers, also a saxophonist, dedicated several tables to music that excites him. African-American artist, but undoubtedly figurative modernist Romare Bearden produced so many works related to the music community. In Europe, Nicolas de Stael dedicated some of his most important paintings to music that still draws crowds of young people ... about to turn to rock.

The postwar period saw also arise with the LP, a new artistic field, a minor but fascinating: that of the record sleeve (Record Cover). Anonymous or famous, like Andy Warhol, dozens of graphic artists will engage in the practice of seduction music format 30 x 30 cm. Major consumer of images, this art will be applied to some very big names in photography, including Lee Friedlander, a glittering career start. Other photographers specialize frankly, as Herman Leonard, conquer it considerable notoriety.

The cinema of the fifties was often left contaminated by modern jazz, so easily able to adapt its rhythms and expressive colors to black and white then: among dozens of other films, evidenced emblematically the Elevator to the Gallows Louis Malle (with music by Miles Davis) or the Shadows by John Cassavetes (one with Charlie Mingus).
8. West Coast Jazz 1949-1960

The vulgate of jazz history is that Bebop was black and from New York and he has responded in the shadow of Hollywood film studios, a West Coast Jazz, if "fresh and refined" than some n have not failed to try him effeminate. A significant nuance, this way of thinking is not completely false. Comparing the graphics of the record companies based on each coast illustrates this opposition: blond and sunny beaches circling to the west of the photographs of William Claxton, geometric lettering and portraits of black musicians in the east ... Many famous jazz musicians of the West Coast, mostly white, it is true, then earn a comfortable living by concocting the music of Hollywood, which is therefore their trace feature ... if this does not prevent them going on Sunday jam at clubs including the Lighthouse of 'Howard Rumsey will remain the symbol.

9. The Free Revolution 1960-1980

In 1960 appears the album Free Jazz Ornette Coleman. With his title with a double meaning ("Free jazz / free jazz"), this album whose cover opens on a replica of Jackson Pollock's White Light, marks a new pack of cards: after the modern period, it comes the libertarian vanguard ...

In this revolution Free "contemporary black liberation movements - Black Power, Black Muslims, Black Panthers ... ¬ - meet in the visual arts the work of artists like Bob Thompson meteoric. This period is also where, helping freedom, Europe gives his version of the Free music in performance at times close to the Fluxus spirit. Among the many effects of this opening, you can report notebook for an African Orestes (Appunti per un Orestiada africana), the amazing draft of movie in which Pier Paolo Pasolini invited improvisations of free jazz musician Gato Barbieri to meet both Aeschylus and Africa.

10. Contemporaries 1980-2002

The visual arts have begun to regularly use the adjective "contemporary" at the turn of the 60s, probably because the term "modern" does not stick very well to new forms while pregnant. The term "contemporary jazz", however, is not passed in the manners in "Worlds of Jazz" (to borrow the title of a book by André Hodeir), seasons and live today , marry and mingle sometimes. The exhibition gives an overview of the last two decades highlighting the predominance of three divisions: the first, led by Wynton Marsalis, the Bebop historicizes an almost academic, like the classical music, and invites regularly on the stages distinguished uptown at the Lincoln Art Center in New York, the second with John Zorn leader, continues and develops the libertarian tradition and avant-garde legacy of the Free and moved Downtown in small clubs and more less self-directed, which is often celebrated the Jewish component - Great Jewish Music, announces the title of a series of drives led by Zorn which contains such a tribute album to Serge Gainsbourg and the third is simply the world and especially Europe, where many talented musicians are proving every day the universality of jazz and its many offspring do more than that without reference to a U.S. model.

Also, the presence of jazz in contemporary art is still considerable. Evidenced by the number of tables impregnated Black Music painted by Jean-Michel Basquiat in his short career, this or that video of Adrian Piper, or Lorna Simpson, or that wonderful photograph by Jeff Wall inspired by the prologue of The Invisible Man by Ralph Ellison.

Titled Chasing the Blue Train, the large installation created in 1989 by the legendary African-American artist David Hammons - with his little toy train still running, its piles of coal and its funds upright piano on the side - provides exposure whole the following conclusion: if the twentieth, the century of jazz is well and truly over, the train of the music that has accompanied, perhaps more than any other, is itself always in motion.

Metisse world
edited by Serge Gruzinski

To Mix ot not to mix?

It is to dwell on the notion of miscegenation, topical if any, by confronting the reader to a series of oppositions common, calling into question the strong taste of the West for dualism: Classical / ethnic, antique / classic, original / first, folk / colonial, exotic / Typical ...

Open exhibition and publication on issues related to the idea of mixing that lead almost without transition, to an exploration of memory. These elements suggest to think logically about how to be "manufactured" objects mixed with it is often difficult to define the contours. They could be defined as the expression of a human creation that arose at the confluence of the Worlds and European companies in Asia, Africa and America. They are at the heart of a story that is played worldwide since the fifteenth century to the present.

After several steps that will reveal many little-known works, the course ends with an imaginary encounter with the contemporary Métis, particularly through Hollywood and Asian cinema.

184 pages 24 x 26 cm

About 150 illustrations

Retail price: 45 €


Isbn 978-2-7427-7344-2/978-2-915133-81-3

Co-published Branly / Actes Sud

Serge Gruzinski is a historian, director of research at CNRS and director of studies at EHESS, he is the author of several books founders. After devoting a book to the war of images that had delivered the Spaniards and Mexican Indians in the first centuries of colonization (Images of War - Christopher Columbus "Blade Runner" (1492-2019), Fayard, 1990 ), he signed in 1995, a test widely developed: The Mestizo Mind. It is also the author of The Eagle and the Sibyl, Indian Murals of Mexico, published by Actes Sud / Imprimerie Nationale.

Metis planet: to mix or not to mix
March 18, 2008 to July 19, 2009

exhibition poster Metis

Interbreeding, colonization, globalization, the "clash of civilizations" ...

Realizing the contact of peoples and traditions of coexistence of mixed identities, the notion of mixing reflects a way of conceiving the relations between different cultures. Exposure Planet Métissesouhaite stimulate the imagination of visitors as part of a journey that makes the objects interact with each other, the fifteenth century to the present. It analyzes the impact of European expansion, mainly Iberian on other civilizations and influences between East and West in the wake of major expansions, including Chinese and Muslim. This exhibition of objects and arts showcases the richness of artistic production from the interbreeding of ways of doing and believing, creating and designing.
around the exhibition
dedicated website

Click here to see the website of the exhibition

see and download the flyer for the exhibition
Catalogue Planet Metis

edited by Serge Gruzinski - 224 p - coedition Branly and Actes Sud - 45 €. For more information on the catalog, click here
Book Exhibition

- 16 p - 3 €
audio-guided tour

With the audio guide "Planet Metisse," Serge Gruzinski, curator of the exhibition, Alessandra Russo, historian and assistant commissioner, and Boris Jeanne, historian, guide you along the route of exposure.

Paris, racially diverse city

A day of discovery devoted to interbreeding: after visiting the exhibition, discover Paris's Chinatown ...

Learn more about the course and rates of Paris, racially diverse city ...
plug-term exposure

download the plug-term ...
film cycle at the reading room Jacques Kerchache cities Métis

the last Saturday of the month at 16h - go free and available without a reservation within the limits of available places

details on programming cycle cinema cities Métis
November 2008 records: Métissages film cycle of the image, blending the look ...

cinema of the Musée du Quai Branly

14 sessions open access, subject to availability

See the schedule of meetings ...
Commissioner Serge Gruzinski

International specialist of the New World, Serge Gruzinski has already worked with the Musée du Quai Branly. In 2004 he was scientific director of the conference, "Experience Metisse," which proposed to compare different perspectives on the issue of miscegenation in the civilizations of the world.

Serge Gruzinski is a historian, director of research at CNRS and director of studies at EHESS, he is the author of several books founders.
After devoting a book to the war of images that had delivered the Spaniards and Mexican Indians in the first centuries of colonization (Images of War - Christopher Columbus "Blade Runner" (1492-2019), Fayard, 1990 ), he signed in 1995, a test is especially devoted to the "Mestizo Mind."

What a body?

I have a body good to me, it seems, and that's because I'm me. I count among my properties and pretend to carry him on my full sovereignty. I think therefore unique and independent. But it is an illusion because there is no human society where it is believed that the body is worth by itself. Every body is created, not only by their fathers and mothers. It is not made by one who has it, but by others. No more in New Guinea, the Amazon or Africa than in Western Europe, it is thought as a thing. Instead, it is the particular form of relationship with the otherness that constitutes the person. Depending on the perspective of comparative anthropology adopted here is that other, respectively, the other sex, animal species, the dead or the divine (secularized in the modern age, in the teleology of living). Yes, my body is what reminds me that I find myself in a world populated by example, ancestors, gods, enemies or people of the opposite sex. My body really mine? It is he who I do not belong, I is not alone and that my destiny is to live in society.

224 pages 24 x 26 cm

240 color illustrations

1 map

retail price: 45 €

isbn 2-915133-17-4

Co-published Branly / Flammarion

Stéphane Breton, anthropologist, documentary filmmaker, lecturer at the EHESS, member of the Laboratory of Social Anthropology (EHESS / CNRS / College de France). He has published several books including: TV, Grasset, 2005, the gender masquerade, Calmann-Lévy, 1994, Rivers still, Calmann-Lévy, 1994. He also directed three films, chronicles of past stays in the people of the Highlands of New Guinea, Wodan, and among the Kirghiz, broadcast on Arte: They and I, Les Films d'Ici & Arte, 2001; Heaven in a garden, Les Films d'Ici & Arte, 2003, was a silent, 2006.

Michele Coquet, anthropologist, researcher at CNRS, member of the Laboratory for Systems Thinking in Black Africa "(EPHE / CNRS)

Michael Houseman, anthropologist, director of Edudance at the Ecole Pratique des Hautes Etudes, director of the Laboratory for Systems Thinking in Black Africa "(EPHE / CNRS)

Jean-Marie Schaeffer, philosopher, director of research at CNRS, Director of the Centre for Research on the arts and language (CNRS / EHESS)

Anne-Christine Taylor, an anthropologist and director of research at CNRS, member of the research team in Native American Ethnology

Eduardo Viveiros de Castro, an anthropologist, professor of anthropology at the Museu Nacional do Brasil, Rio de Janeiro, director of research associated with the research team in Native American Ethnology (CNRS).

What is a body?

For 18 months, a major exhibition of Anthropology deals with universal issues of relationships between men and is the culmination of a scientific research section.

West suspended Gallery (museum admission)
until September 23, 2007

What a body? To this question, the first major exhibition of Anthropology Branly offers an unexpected response.
It invites visitors to compare how the body and person are represented in four regions: West Africa, Western Europe, New Guinea and Amazonia. Against the typically Western idea of the body as the seat of an irreducible singularity, the team of anthropologists led by Stéphane Breton shows that no human society - including our own, despite what she thinks - does a body "private matter", an object strictly individual. Indeed, the body is understood by different people as a semi-finished product must be complete: it is the subject of a work, a "fabrication." "I'm not alone in my body: the body, the individual enters into a relationship with" something that is not itself ", which changes according to culture. The body is the locus of expression of a confrontation: male / female, living / nonliving, divine / image, human / non-human ... so many objections that are found in the productions ritual, social, art (sculptures , objects, images of the body ...) presented here.

What a body? edited by Stéphane Breton, 224 pages, co-published Branly / Flammarion, 45 €
the route of exposure

It revolves around four main areas that focus on a specific geographical area by providing each time a different view of this "other" as the body, namely, the dead for West Africa the divine for Europe, the other sex for New Guinea, and the animal kingdom for the Amazon.
1 - West Africa

the body and its double (the ancestors, the mythical founders and engineering of the jungle)

In societies of West Africa as the Dogon, Bambara, Senufo and Lobi, shaping the body is inseparable from the close relationship between the living to their ancestors, as guarantors of prosperity and fertility.
Furthermore, men worship the mythical beings who have founded the village of origin. These icons are embodied in the human figure sculptures.
The third, equally constitutive of the body, manifests itself through the genius of the bush, a kind of abstract and intangible spirit which, like other double exists before the body and survives him.

"The body is of the earth"
Man creates forms, altars consist of non-figurative elements from the earth and usually contained the ancestors.

"The newborn is a foreigner"
The newborn belongs to the world of ancestors and spirits. A number of rituals including circumcision and scarification led him to become a whole person.

"Game of mirrors"
The sculpture reflects the image of mythical figures copies. The nobility of attitude, the attributes, insignia of power, wisdom and wealth, marks showing the power of participating fertility of the plastic quality of a work and its symbolic effectiveness.

The sculpture is so plastic and necessary counterpoint to inform or informal representation of ancestors and the invisibility of geniuses.
2 - Western Europe

body image is

In Christian Europe, the idea of the Incarnation, of which Christ is the perfect symbol, is fundamental. The man, according to this view, was created in the image and likeness of God and the body, instead of imitation, has become a sign and instrument of that relationship to the divine.
But in the modern world, partly de-Christianized, transcendence has taken other forms and is in the biological model, a new ideal of beauty.
This part of the exhibition, which focuses on different modes of representation of the body in the West, shows images often degraded or distorted, floating like platitudes in space. Faced with this virtual world, is one sculpture Romanesque work of the twelfth century which depicts Christ on the cross.
3 - New Guinea

Matrix Men

In New Guinea, theories of procreation by which the embryo is formed by mixing the sexual substance of the father (sperm) and mother (blood), lead to the idea that the body is a compound male and female. The human being is fundamentally androgynous.

"Transformation content container"
The male body is a body content contrary to the female body is a body container.
If he wants to perpetuate itself, man must realize his own capacities Nursery, become a body comprising a body that contains something fruitful. This ambition is realized symbolically by the rites of initiation in which we use ritual sculptures depicting the transformation of the body content body containing.
In the Gulf of Papua, it is by devouring the male body asserts her femininity. In this way, the object becomes an object swallowed men embracing.
In the Sepik River region, the brackets and tubes phallic adorning ritual objects come together to transform the male body into a body of engulfment.

"The female body is the ideal male body"
And the ideal form of ritualized male body done is represented by a male ancestor female wearing a kilt, a crocodile or a monster of basketry in the world symbolically putting the boys through bleeding or excretion. It is a body whose matrix K provided the plastic model and becomes a social body, allowing fathers to perpetuate their son.
4 - Amazon

a body made of looks

In Amazonia, in the lowlands of South America, the body does not own form. It takes that imposed the special relationship maintained with such other matters according glances exchanged between the perceiver and that which is perceived.
Have a human body is a state which also depends on the relationship of predation.

"Parent body"
Have a human body involves legal provisions in respect of his peers and non-human. These provisions included in the body is marked with the clothing and ornamentation.
The feathers of certain birds, for example, are intended to inform one possesses the capacity to live as a couple or "parents".

"Body of prey and predator"
Loneliness, weakness, sickness and death signal that our body has become a prey, a victim of predation invisible.
Become a predator, however, others see it as prey. This metamorphosis is indicated by the ornaments of teeth and claws, by paintings, by the singular behavior.
The spirits are often evidenced by predators masks or human trophies. These effigies, always provided with eyes and fangs, materialize the body of nonhuman animated hostile disposition towards the living.
in connection with the exhibition ...

... showcases some of the trail's permanent exhibition to discover.
West Africa

A fine Bamana sculpture is made only in the AF window 028, another is shown alongside two other female statuettes Dogon and Mossi in the window AF029.
AF 030 with the windows of the Senufo statuary, and AF 061 with a large selection of sculptures Lobi will extend the visit.
New Guinea

The window has two hooks 004 OC and a board-related malu rite of passage for young men and showcase OC contains only 005 hooks. We find a hook with a mask in the window OC 008. A series of long-nosed masks is also visible in the window 024 0C while the OC showcase 023 features statues of ancestors of clans which an interesting betel mortar.

Showcases AM 020 and AM 023 offer under a wide range of ornaments of feathers. 022 AM The showcase contains a single large cap mojo Bolivia impresses with its rich colors.
what a body?

Commissioner General of exposure: Stephane BRETON
design: Frédéric Druot

At a glance the Other

History of European eyes on Africa, America and Oceania

At a glance, and one devoted to successive visions brought by Europeans on the cultures of Africa, the Americas and Oceania. This program is a pretext to put into perspective by thematic series, the relativity of our eyes on the threshold of a new museum. Rather than return to the past, this catalog (and exhibition which is the source) marks a starting point.

From the Renaissance to today, the "idols of the Indians", "instruments of the natives," "primitive fetishes," "Negro Sculpture" or "first arts" were the witnesses of likes and dislikes, revealing reflections on otherness. The originality of this publication reflects historical depth that allows to include these objects in a broader history of art.

The Musée du Quai Branly appealed not only to works of other cultures, reflecting the first contacts with Europe, but also to European works within the midst of which they were placed. The catalog shows as well, in a strange series of chapters, how European eyes have gradually allowed other creations from, for example, curiosity amazed rankings systematic evolutionary wanderings of the images of the Universal.

Throughout the pages, the reader travels with the Nave of Charles V., Écouen treasure museum, portraits of Indians of Brazil painted in 1637 for the palace of the Prince of Nassau, rhinoceros horn cups Habsburg Pre-Columbian mask of turquoise mounted by the Medici in a piece of jewelry, the Afro-Portuguese ivories of the sixteenth century, the Tahitian mourner's costume brought by Captain Cook, a mysterious Crystal Skull, The Snake Charmer Henri Rousseau's , mask Punu acquired by Picasso in 1908, Black and White Man Ray ...


352 pages format 25.8 x 28.5 cm

420 color illustrations

retail price: 49 €

isbn 2-915133-32-8 / 2-7118-5219-9

Co-published Branly / RMN

Yves Le Fur, deputy director of collections and heritage, head of the permanent collections, the Musée du Quai Branly

Zeno Bianu Monique Jeudy-Ballini, Adrienne Kaeppler, Maureen Murphy, Pascal Riviale, Nanette Snoep, Claude Stefani, Françoise Viatte.

At a glance the Other
September 18, 2006 to January 21, 2007, Garden Gallery

This exhibition puts into perspective the multiplicity of views that Europe has brought about the cultures of Africa, America and Oceania, discovered mainly by sea, from the Renaissance to the present.
Veritable manifesto for the new museum, it raises the question of otherness through a unique set of objects. Idols, trinkets, exotic fetishes, primitive sculptures trace the diversity of approaches that initiate a history of Western culture in its relation to the Other, sometimes perceived as being original, pure and innocent, sometimes as savage or cannibal bloodthirsty instincts.
Europe and parts are also shown to better understand the context in which the works of other cultures could be accommodated.
This walk through time and space to monitor calls and vagaries of taste, between wonder and awe, curiosity and fantasy, contempt and recognition.

the route of exposure

The exhibition is organized around major themes that are available from a number of historical landmarks. Included are constants: the recurring presence of a certain type of objects (including weapons), some images (the wild, Eden) and the permanence of a constantly renewed reflection on man and universe.
1. Theatre World

This first table looks History begins in the Renaissance from the late fifteenth century with the first conquests of the "terra incognita", including the coasts of Africa and Ancient America, and ends around 1760 when to specify the mapping study and body anatomy. Knowledge of outside and inside are then echoed the same desire encyclopedic.
The cabinets of curiosity or "chambers of wonders" also appeared with the aim of gathering together in a microcosm of the macrocosm of the universe, all knowledge, new technologies.
Thus, all sorts of miscellaneous objects (which relates to jewelry and clothing, rare and precious materials, shells, insects, plants with medicinal properties allegedly, fossils, skulls and skeletons, the remains of the Antiquity ...) Are they together according to their shape and their power analog.
2. natural history of the world

Between 1760 and 1800 about Pacific exploration encourages the encounter of worlds seemingly antagonistic. Large shipments often consists of scientists, botanists, cartographers, and watercolor painters led by great navigators: Cook, Bougainville, La Perouse, the most illustrious, plying the South Seas. The look of these travelers on the manners and customs of the "natural" influence the taste of Europeans. The gold coins, ivory or feathers, for example, are particularly popular and sought after.
The notion of "noble savage" about people, and that of "exotic curiosities' own works performed in these distant lands grows alder Enlightenment. In the West, is born of the feeling is strange, singular, unusual, inseparable from a kind of fascination mixed with fear for these objects, being diverted from their original destination, are growing in mystery.
3. herbarium specimens or the general world

The first half of the nineteenth century was marked by a growing interest in natural sciences. Flora, fauna, as well as "material production" of indigenous peoples of America and Oceania are classified, indexed, cataloged according to their provenance and use, and begin to take place in the first European museums. This expanded collection due to a deepening of knowledge does not exclude a distorted or transposed, often idealized and picturesque country and met men. The traveling artist responds to the imaginary referred methodological scholars. The evidence from this period thus often oscillate between documentary realism and open to the exotic stereotype wonderful.
4. science of peoples, the invention of mankind

Although slavery was abolished in France in 1848, his gaze focused on the Other, from the 1850s, has not ennobled. Far from it. Anthropometry and evolutionary theories, establishing a hierarchy among inferior races destined to disappear and superior races, are in line of colonialism and imperialism, which is behind the idea of civilization.
Ethnographic museums, in parallel, are born and grow rich through missions abroad more frequently. In this regard, the trophies well represented, and the first photographic shots illustrate the concept of capture, flourishing in the late nineteenth century. In contrast, exposure of fetishes or "rude idols" denounce the barbarity of the "native" wild qualified regularly.
It was not until the early twentieth century that other eyes alight on the so-called primitive objects and the men who created them.
5. aesthetic shift

Recognition is primarily in the early twentieth century by poets, artists and collectors Cubist Expressionist, Fauve, surreal.
This awareness of a pantheon of world art, which encompasses all cultures, through the redefinition of terms previously used. The words "wild", "negro" or "primitive" and lose their negative connotation associated with the concept of "artwork" that was not really right of citizenship. "Cannibal", "magic", "fetish" are also reused as a reaction against bourgeois codes and an academic flavor.
While the Colonial Exhibition of 1931 suggests, however, that racial prejudice is still stubborn, a reflection of increasingly sophisticated began on the identity of the object, its function, its mode of creation, although it is still matter of styles, ethnicities, and anonymity of the artist. Aesthetic criteria are no less eclectic, uneven and highly dependent on the modes that are launched and tracked ...
In 1947, André Malraux built his "imaginary museum", "immense range of invented forms" in which the primitive arts join the sacred arts of great civilizations. Since then, some major events including the entry of "primitive art" at the Louvre confirm the valuation of companies too often ignored and nobility of this look that went on to gain over time.
Is an important place for the photograph in the exhibition.
Ethnographic collections from leading French, often unpublished, portraits and landscapes are shown, reflect a certain conception of the exotic own in the nineteenth century. In the next century, photography, too, is changing its status from the stage of simple document to the rank of works of art.
International Exhibition

This is an exhibition that brings together exceptional works (funds Branly, loans from foreign museums, contemporary art, creations ...) for 3-4 months.
His visit time is around half past one. It is planned three for the 2006-2007 season.

upcoming exhibitions

Arts in New Ireland
The Garden of Love, an installation by Yinka Shonibare
Looking On the Other

Curator: Yves Le Fur
Project Leader: Helen CERUTTI
Architects: Stephane Maupin, Nicolas Hugon


African chimeras

Masks, headdresses Ciwara are among the better known pieces of African art. Incomparable masterpieces cultures Bamana (Mali) and Senufo (Mali, Côte d'Ivoire), enigmatic and emblematic symbols of African art, clichés abound when talking about these famous head crests. There are few so-called traditional African sculptures which have aroused so much admiration from fans and collectors. This catalog is intended to fill this gap and provide a scientific focus on the subject. He cites the permeability of borders and artistic use of such objects do not come out only during agricultural rites but on several occasions during the year (entertainment, important ceremonies such as funerals, fight against bites snake, ...). It also highlights the richness of the museum, unique in international collections, with his fifty-five masks reproduced at the end of the book.

96 pages format 20 x 26 cm

70 illustrations and 55 photos to the catalog raisonné


retail price: 25 €

isbn 2-915133-15-8 / 88-7439-318-0

Co-published Branly / 5 Continents

Lorenz Homberger, Deputy Director of the Museum Rietberg, Zurich

Jean-Paul Colleyn, study director at the EHESS and Aurélien Gaborit, responsible for Africa collections, the Musée du Quai Branly

contemporary photographs of Catherine De Clippel

Ciwara, African chimeras
June 23 to December 17, 2006

Ciwara masks headdresses are emblematic of the art of West Africa, particularly representative of the taste of collectors of "primitive" art of the twentieth century.
Numerous copies are ciwara since then in public and private collections around the world.
This exhibition shows the appearance of traditional Bamana society, mainly from Mali, while focusing on the aesthetics of these antelope headdresses carved, etched, patinated, painted with stylized shapes and materials vary by region and changing times.
Dances ciwara society are related to agricultural rites and therefore the idea of fertility, fertility, seeding. Striving to master the elements of nature - that mimic the contortions of antelope masks during ceremonies - men seek to make animal allies.
According to the villages, these masks usually come in pairs, may have a different use. But in all cases, they are objects for unifying and protecting the community, especially since they can be seen by all, not being reserved only for insiders.
Widespread in Mali, the cult ciwara suffered a gradual decline.
the route of exposure

The exhibition presents four regional groupings conform to the different styles of headdresses:
1 - The style of the region Bougouni

Masks of this area have several animal motifs combined on the same piece. According to the Bamana myth, they date back to ancient times and would be an attribute of a frenzied dance of antelope that would have offered the men their first crop.
2 - The style of the region of Bamako

In the area of influence of Bamako and north of the Niger River, the structure of the crest is marked by the horizontality of antelope horns, a symbol of the thrust of millet growing in width and its mouth is open, revealing language.
3 - The style of the region of Segou

Antelopes attached to this highly refined style giving an impression of verticality accentuated. The male differs from the female. It is indeed more strongly marked with sex.
4 - Other areas stylistic

Among the productions it is difficult to determine the origin, a last group of stylistic headdresses is assigned with less certainty, in the Sikasso region characterized by these masks, sleek and sophisticated and stylized forms.
Also some photographs chanting the route of exposure, the films will show the masks in motion.
Bamana culture of Mali in the museum's permanent exhibition

In a large area devoted to West Africa, a dozen windows more or less similar (between FY 20 and FY 105) Bamana contain objects of all kinds and styles varied: robe embroidered tunic talismanic, wooden statues, sacred objects of Kono, anthropomorphic spears, masks and headdress, lock, musical instruments, hats and hunting campaign.

Ciwara, African chimeras, edited by Lorenz Homberger, 96 pages, co-published Branly / 5 Continents, 25 €
what is an exposure issue?

This is an exhibition, most often ethnographic and thematic visit lasting about I / 2 hours, which presents and showcases the richness and diversity of the collections of the Musée du Quai Branly .

upcoming exhibitions folders:
Royal Collection North America
"Yucatan is elsewhere" Desire Charnay's photographic expeditions (February-May 2007)
Ciwara, African chimeras

Curator: Lorenz Homberger
design: Frédéric Druot

Listed injured

Repair in Africa

Repair, mend, strengthen, seal ... Listed blessésaborde unexplored subject of compensation by local indigenous people. This publication opens a new perspective on African objects, and features 120 "objects wounded" among the 500 selected objects repaired Musée du Quai Branly. The catalog offers many points of view because every culture that gives the repair of objects, rituals or customary, a different form and meaning.

But he also wondered about the poetic nature of the restoration. In this supplement almost mystical power of life and that the gesture of the man gives the object, it seems permanently removed from the ephemeral. In addition, repair is a mark of authenticity, if indeed we do not seek to falsify it.

The first section defines the meaning of the word "reparation" in French as well as in a number of African languages. Are then highlighted the differences between repair and restoration. Finally ethnological thinking is the act of reparation in the complex life of the object.

The second part explores the meaning of compensation for the three main religions in the continent: animism, Islam and Christianity.

The third part raises a more analytical, the question of compensation for three different cultures: Maghreb, Dogon, Gabon.

The final text shows the importance of the concepts of tear and repair in contemporary Western art.

96 pages format 20 x 26 cm

58 color illustrations

Retail price: 25 €

Isbn 978-2 915-133-48-6 / 978-88-7439-380-0

Co-published Branly - 5 Continents

Gaetano Speranza, Society of Ethnology, University of Paris X-Nanterre.

Hana Chidiac, Michele Dejean, Marie-Claude Dupre, Eric Jolly, Kadidia Devautour Kane, Salia Malé, Françoise Monnin Perrois Louis, Albert Rouet, Paulette Roulon-Doko

objects wounded. repair in Africa
June 19 to September 16, 2007

repair, restore, mend, strengthen, seal ...

"Objects wounded" addresses the theme of unexplored local repair by indigenous peoples.

The exhibition focuses on the African collections of the Musée du Quai Branly, and has 110 "objects wounded" among the 500 selected objects repaired in the collection (60,000 pieces).

A video and photographs complement the exhibition by providing a contemporary look at the Malian repairers.

Listed injured. The repair work in Africa, edited by Gaetano Speranza, co-published Branly / 5 Continents.
Editorial by Gaetano Speranza, curator Listed injured

Calabash, Mali

Calabash detail

"Originally, the idea is simple: we study and expose the remedy, widely present in Africa, but neglected in our collections and our research. But things get complicated when we question the meaning of words.

We repair a broken gourd. But do we repair the Mosque of Djenne? The posts which are outside the body of the mosque are simultaneously structural elements inherent in its construction, and steps can cover it when it is necessary to rehabilitate.

In the West, it does not repair a cathedral, it restores and consolidates it, and it destroyed skyscrapers to replace them by others.

Mask, Cote d'Ivoire

Reliquary guardian, Kota, Gabon. Details

If a pierced or broken container does not fulfill its function, it must be repaired or replaced. But from what degree of degradation a mask or a statue lose their functionality ritual? And what kind of intervention can we restore this functionality? The repair did this single objective or does it just to prevent further degradation of the object?

It is also the result of interventions that could be mistaken for a repair, and yet, are an addition, simple decor. Sometimes, what appears as a remedy is a constituent part of the original structure of the object. For instance, a ligature of large string that covers the legs of a statue may be the semblance of a disease.

Mariam Traore and Sitan Koumaré. Repairing a clay pot

In a harp, we replace the strings, and if a key case, it is replaced too, but is it a repair or maintenance? However, if a rat eats the skin of the table that surrounds the hearing, one sews a piece of skin and is good repair.

And if it closes a gap in a statue with cloth or resin, can we still speak of repair?

Finally, could we think that the gods were going to get involved? Every religion, every culture has a different interpretation to the object of his injuries, his repairs. Thus, the apparently simple and unambiguous concept of "compensation" we will develop in all its complexity. "

objects: © Musée du quai Branly photo Patrick Gries

the potters: media e © photo Lawrence Schneiter


Art of Berber women

The catalog produced for the exhibition Ideqqi, art of Berber women, is the first paper on the art of pottery Berber in Algeria, specifically female. It is based on the collections of the Musée du Quai Branly, particularly rich.

After an introduction by Marie-France Vivier, curator, Ernest Hamel provides a historical overview of Kabyle pottery, while Claude Presset through iconography selected, moved the manufacturing steps, from mixing to baking.
Dalila Marsly texts have different functions exhibits, including through their household.
The final text by Marie-France Vivier allows the reader to understand the symbolism of the sets, by drawing some comparisons with, for example, tattoos of Kabyle women photographed there are more than forty years by Marc Garanger.


* 96 pages format 20 x 26 cm
* 62 color plates and 97 vignettes (catalog raisonné)
* 3 maps

Retail price: 25 €

isbn 2-915133-59-2 / 978-88-7439-381-7

Co-published Branly / 5 Continents

Marie-France Vivier, honorary curator, collections manager of Northern Africa at the Musée du Quai Branly. She is the author of A Passion for African Art (Joel Cuenot, 2005), Algeria, women's memory (Paris-Musées, 2003).
June 19 to September 16, 2007

Ideqqi, art of Berber women focuses on an authentic popular art form, still largely unknown to the general public. Patterned pottery is a precious and fragile witness to the distant past: rounded and molded, incised or in relief - found in parts of the Neolithic-, painted decorations - which are similar to those vessels Punic and Sicilian pottery. The exhibition highlights the originality of these parts compared to urban pottery, African and highlights their very strong anchor and their close relationship with the ancient art of the Mediterranean.

Curator: Marie-France Vivier, former head of collections of North Africa at the Musée du Quai Branly.

Ideqqi, art of Berber women. Editor Marie-France Vivier. Co-editing the Quai Branly Museum - 5 continents.

* Ernest Hamel, collector of pottery Algerian
* Claude Presset, pottery, specialist pottery techniques and ceramic
* Delilah Marsly, university professor


Five Centuries of Royal Art

Produced by the Museum für Völkerkunde (Ethnology Museum) in Vienna, the Benin catalog, five centuries of royal art to discover the masterpieces of the art of court of the kingdom of Benin in the south of the Current Nigeria.

Reference book of over 500 pages, published this comprehensive retrospective, it includes an introduction to local traditions of Nigeria, reports on field research and the latest offers historico-cultural, symbolic and pictorial exhibits , crucial for the identity of the kingdom of Benin.

It is the perfect mirror of the exhibition that brings together for the first time in Europe, mostly from collections in England, Germany and Austria. All these works, a remarkable historical unity, draws a broad panorama of art and culture of the kingdom of Benin.

Treasures of mankind and blocks of museums around the world, beautiful bronzes and ivory carvings are at the heart of the course., Supplemented by maps, manuscripts and chronicles of travel, many clues for the reader of the immense wealth of the past in Nigeria.

five centuries of royal art

October 2, 2007-January 6, 2008

Curator: Barbara Plankensteiner, Director of Collections of Africa Museum of Ethnology in Vienna.

Produced by the Museum of Ethnology in Vienna, the Benin exhibition to discover the masterpieces of the art of court of the Kingdom of Benin. This exhibition brings together for the first time in Europe, collections, mainly from England, Germany and Austria. All these works, a remarkable historical unity, draws a broad panorama of art and culture of the Kingdom of Benin. Bronzes and ivories, but also maps, manuscripts and chronicles of travel for visitors are all indications of the immense wealth of the past in Nigeria.

catalog of the exhibition Benin, five centuries of royal art. A joint publication of the Quai Branly Museum - Museum für Völkerkunde, Vienna

African ivory
February 19 to May 11, 2008

From the sixteenth century, a number of pieces of ivory carved by African artists, from areas that correspond to the mouth of the Congo, Sierra Leone and Nigeria today, came in aristocratic collections, less like objects curiosities than as exotic and luxurious pieces. This exhibition brings together twenty of the oldest African objects collected by Europeans and now kept in French collections, accompanied by documentary highlighting the historical depth of the African continent and its productions and the question of the use of iconographic between Europe and Africa. African ivory presents the public a little known aspect of the history of taste and art history.

Commissioner: EZIO BASSANI

Italian from Varese, a leading specialist in African art, Ezio Bassani began in 1973, to compile the catalog of African sculpture in museums in Italy. From 1977 he taught African art history at the Università Internazionale dell'Arte (UIA) in Florence.
Through his historical knowledge, he was appointed to the Scientific Committee of the University of Florence (UIA)., Editorial Committee of the journal Critica d'Arte, the Committee of Advisers international publishing the Journal of the History of Collections Oxford. He also served on the Scientific Council of the Mission foreshadowing Museum of Arts and Civilization (Musée du Quai Branly) in Paris.
Alongside these responsibilities, Ezio Bassani has been the commissioner - and the author catalogs - several exhibitions that were held in France, Italy, the United States, Japan, Switzerland and Belgium. He has made Africa the exhibition, masterpieces from one continent to Turin in 2004.

African Ivories

in the former French collections

The arrival in Europe of works of African ivory in the late fifteenth century, at the time of early exploration and early nineteenth century, when the continent becomes a territory of conquest to the colonial powers, reveals existence of hitherto unsuspected advanced African civilizations. While some ivories were intended for indoor use, such as olifants, marks of dignity, others were created at the request of Portuguese navigators for export. Denotes the second set as the "Afro-Portuguese ivories." These parts were refined including prized by kings and princes, lovers of exotic curiosities. The catalog presents twenty-five sculptures African ivory from the mouth of the Congo, Sierra Leone and Nigeria today. Rich photographs focusing especially close-ups, and many documents (engravings, drawings, paintings ...), he emphasized the length and richness of French collections while providing a better understanding of the context of contact between Europe and Dark Continent.

Tangle of ropes, accumulation of disparate elements, small heaps unspeakable, are the objects of divination in Africa in this book. These figures of the formless, sometimes perceived as loathsome and strange, are much more familiar we suppose at first, and do not speak of anything but life and countless son's existence, which continue to establish and discard. It is not that of any tribute to Africa and mysterious fetish, but to honor human creativity and variety of forms it knows borrow.

Exposure. Musée du Quai Branly (2009) Recipes of the Gods: the fetish aesthetic Actes Sud € 19.90
Group under the leadership of Jacques Kerchache African Art & Citadels Mazenod € 199.00
Faik-Nzuji, Clementine M. African Arts: signs and symbols boeck From € 42.00
Collective Imprints of Africa: African Art, Modern Art Workshop € 9.91
Basson, Mbog Aesthetics of African Art: The Symbolic and complexity Harmattan € 21.00
Diagne, Souleymane Bachir Leopold Sedar Senghor, African art as philosophy: an essay Riveneuve € 15.00
Exposure. Afrikamuseum (2007-2008) Ubangi, art and culture in the heart of South Africa Acts € 99.95
Alain Lecomte art, magic and medicine in Black Africa Gallery Alain Lecomte € 35.00
Exposure. Dapper Foundation (2007-2008) Musée Dapper Pet € 45.00
Exposure. Dapper Foundation (2006-2007) Gabon: the presence of spirits Museum Dapper € 38.00
Exposure. Dapper Foundation (1996-1997) Musée Dapper Magic € 44.97
Exposure. Dapper Foundation (1997) Musée Dapper Containers € 42.69
Exposure. Musée du Quai Branly (2007) Wounded Objects: Mending Africa Musée du quai Branly € 25.00
Fiemeyer, Isabelle Marcel Griaule citizen Dogon Actes Sud € 25.00
Agnieszka Kedzierski, Jouvelet Benoït Healers and medicine men: medicine in traditional West African Alternatives € 25.00
Daniel Laine, Anne Stamm, Saulnier black stone gods Arthaud € 40.00
Pietz, William Fetish: Genealogy of a problem Eclat € 20.00
Griaule, Marcel God of Water: Interview with Fayard Ogotemmeli € 20.00
Group led by Umberto Eco Ugliness Flammarion € 39.90
Pascale, Enrico's death and resurrection Hazan € 27.00
Clippel of Catherine, Jean-Paul Colleyn Secrets: African fetishes La Martiniere € 35.00

Recipes of the Gods - Aesthetics fetish
exhibition record, from February 3 to May 10, 2009
Musée du Quai Branly
NMR selective bibliography - Department of the book - bookstore NMR Wharf
Recipes Bibliography of the gods - the fetish aesthetic

Coppo, Piero healers of madness, history of the Dogon Plateau: ethnopsychiatry
The troublemakers of thinking
€ 14.33
Surgy, Albert
Divination by the eight strings in-Gurma Mwaba (Northern Togo).
Volume 2, The initiation of the diviner and divination
L'Harmattan € 29.00
Surgy, Albert
The way of fetishes: an essay on the theoretical foundation and perspective
mystical practices of fetish
L'Harmattan € 33.55
Surgy Albert Nature and Function of fetishes in black Africa: the case of Southeast Togo L'Harmattan € 42.70
Hubert Jacques
Traditional rituals of Africa: an approach to liturgical theology
L'Harmattan € 18.00
Tobia-Chadeisson Michele Fetish Africa: a chronic misunderstanding L'Harmattan € 23.00
Didi-Huberman, Georges Resemblance The gay science informs or visual according to Georges Bataille Macula € 30.00
Catherine Clement, Nathan Tobie The couch and grigri O. Jacob € 8.40
Aswan, Paul Lawrence Fetishism PUF € 8.00
Meyer, Laure African objects Terrail € 19.00
Leiris, Michel Toguna Dogon Ritual items € 3.50
Collective Gris-gris, fetishes and Lucky Cherry Orchard € 14.00
Pavy, Agnes Fetishes on Cherche Midi € 14.50
Soalma, Bwénimavé Box fetishes: Legends of the savannahs of Africa (Burkina-Niger) L'Harmattan € 22.00
N'Diaye, Bokar Death fetishes of African Presence Sénédougou € 18.29
Badian, Seydou Marriage sacred Presence Africaine € 6.10
Most of the collective wisdom of the African Press Chatelêt € 12.00
Herge Tintin in the Congo Casterman € 17.95
Berenice Geoffroy-Schneiter, Jean Christine Ekom, the messenger of the spirits Dapper € 11.00
Gabriel Kinsa, Zau, François place Sorcerer River Association Diata € 13.00
Djeukam Anselmo Box mysterious Cameroon L'Harmattan € 7.00
Govignon, Brigitte L'art puzzles: Mango-Africa Youth € 10.50
Manila, My Creations Peggy's World, Africa Mila € 8.95
Lebon, Sophie My grigri Felt Milan youth € 6.50
Foot, Savine Creates objects Africa Père Castor-Flammarion € 7.50
Sellier Marie Marion Lesage Africa, small Chaka ...
Meeting of the museum
€ 13.00
Recipes Bibliography of the gods - the fetish aesthetic

The Quai Branly museum is set on quai Branly in the 7th district of Paris, where was located the Foreign Exchange Market Department. Ambitious project led by Jacques Chirac (passionated by « primitive art ») and realised by Jean Nouvel, it has been unveiled the 20th of June 2006.


Jacques Kerchache, art seller and african art expert, tried from the begining of the 1990’s to bring the « primitive arts » into the Louvre museum. In 1990 he signed in the newpaper Libération an article on this topic ; the same year he met Jacques Chirac, then mayor of Paris.

The latter is elected president of the Republic in 1995. As soon as he arrived at the head of the State, he askes for the opening of a primitive art department at the Louvre museum. One year later he announced the project of creation of a new museum, which quickly meet an opposition, especially  with a strike of the personnal of the Man museum in 1999, to stand in the way of the disassembly of the museum’s collections and criticize the primacy of the aesthetic choice instead of the scientific factors.

An architecture competition is sent out in 1999, designating Jean Nouvel as the architect.

This museum is unveiled the 20th of June 2006 by Jacques Chirac, in the presence of Kofi Annan, Rigoberta Menchú, Paul Okalik, Dominique de Villepin, Lionel Jospin and Jean-Pierre Raffarin. The Quai Branly museum has the status of public administratove institution. It’s placed under the guardianship of the Department of Culture and Communication, of National Education and of Higher Education and Research.

The museum is open since the 23th of June 2006.

Now and again, an activity report allow to show the evolution of the number of visitors. After one month when there have been 151 000 visitors, the medium is around 125 000 visitors per month.


The museum assemble the former collections of ethnology from the musée de l'Homme (located in the Palais de Chaillot) and those of the National Museum of African and Ocianian art. Around 300 000 items have been transfered from the musée de l'Homme; 3500 are esposed in the museum permanent collection. Immense space without partitions,  the items are divided in big continental "zones": Africa, Asia, Oceania and the Americas. The items are opened to the public thanks to the contextualisation of the differents levels of information: cartels, cultural mediators, texts and multimedia including pictures, films and musics. 

As a complement of the permanent collections, ten temporary exhibitions per year, split between the suspended galleries and the garden gallery, space of the important international exhibitions, allow to present themes while showing the wealth of the collections.


The whole takes up a surface of 40 600 m² split on four buildings and exposes 3 500 items, selected in a collection which group together 300 000 items. The flat of 5 floors covered by a 800 m² vegetal wall has been designed by the architect Jean Nouvel inreference to the Eiffel tower, closed like a 3 200t bridge on which 31 multimedia cells are suspended on top of a 18 000 m² garden designed by the architect-landscape gardener Gilles Clément. In this garden, composed of tracks, small hills, ways paved with river stones, pools favourable to mediation and daydreaming, 178 trees will be planted. The museum had cost almost 233 millions of euros.

The 4 buildings are:

- the museum itself, of which the main gallery (200m long) includes several lateral rooms which are represented outside by coloured boxes. The museum also includes an auditorium, some lesson classes, a reading room, a temporary exhibitions space, a restaurant; l
- the Université  flat includes a library, offices and workshops;
- the Branly flat (at the 800 m² vegetal wall level, designed by Patrick Blanc) which inclued the administratuin on 5 levels;
- the canopy, which included the multimedia library and the reserves

A several meters long sinusoidal route in light rise leads from the small entrance of the site to the collectionsplunged in darkness.


The museum publishes since 2005 the anthopology and museology journal  Gradhiva. This journal, founded by Michel Leiris and Jean Jamin in 1986, is devoted to the contemporary research in ethnology, history of anthropology, famous ethnologists' archives and non-western aesthetics. Because of its topic, Gradhiva is regularly interested in the quai Branly museum's collection.


The creation of the museum, the biggest project of this kind in the world, has been proned to some controversies before its opening:

  • Art or culture ?With the transfer of a large part of the items formerly exposed in the musée de l'Homme, the question is asked again about the link between what comes under Art - what has to be exposed in the museum - and what comes under culture. 
  • What is a "art premier" ?The notion of "art premier", pretty recent, is itself proned to controversies, because it could make the peoples who product it as primitives. This evolutionnist conception is widely refuted, for example by the anthropologists. Even if at the begining of the creation of the project the qualification "Arts premiers museum"  was sometimes annouced, today it seems to be perfectly incorrec. Despite this connotation, th eterm "arts premiers" has been taken in the informal language. .
  • Representation equality for every people of the world. If the museum has the vocation to expose the artistic production of the whole world civilisations, we can notice a large disparity of representation. For example the opening of this museum has created protests in Quebec because of the almost-absence of canadian works of art. Thus, the Great White North Inuit are reprensented by a simlple comb, and the first Quebec nations by two weaved belts.

L'ensemble des critiques se rapportant à la genèse, à la création et au coût de ce musée font l'objet d'un ouvrage de l'ethnologue Bernard Dupaigne, professeur au Muséum national d'histoire naturelle, paru en 2006 sous le titre « Le scandale des arts premiers. La véritable histoire du musée du quai Branly ».


  • Bernard Dupaigne, Le Scandale des arts premiers. La véritable histoire du musée du quai Branly, Mille et une nuits, Paris, 2006, ISBN 284205962X, 261 p.
  • Germain Viatte, Yves Le Fur, Christine Hemmet et Hélène Joubert, Le guide du musée du quai Branly, Musée du Quai Branly, Paris, 2006, ISBN 2915133182, 307 p.
  • Stéphane Martin, Chefs-d'œuvre : Dans les collections du musée du quai Branly, Musée du Quai Branly, Paris, 2006, ISBN 2915133212, 113 p.
  • L’étrange étranger – « D’un regard l’autre », l’exposition-manifeste du musée du quai Branly, Télérama, Hors-Série, 20 septembre 2006.
  • Quai Branly – le musée de l’Autre, Télérama, Hors-Série, 20 juin 2006.
  • Benoît De L’Estoile, Le goût des autres. De l’exposition coloniale aux arts premiers, Paris, Flammarion, 2007.
  • Sally Price, Paris Primitive: Jacques Chirac's Museum on the Quai Branly, Chicago, University of Chicago Press, 2007 (Paris Primitif : le musée de Jacques Chirac sur le quai Branly, publication prévue en novembre 2007).
  • Rita Di Lorenzo, « Notre musée d’autrui - Réflexions sur la beauté du Musée du Quai Branly », paru dans MEI – Médiation et Information n. 24/25 (2006), Paris, éd. Harmattan, avril 2007.
  • Thule, Rivista italiana di Studi Americanistici n°16-17 Regards croisés sur l’objet ethnographique : autour des arts premiers (sous la direction de Giulia Bogliolo Bruna), 2006.


african art / art africain / primitive art / art primitif / arts premiers / art gallery / art tribal / tribal art / l'oeil et la main / galerie d'art premier / Agalom / Armand Auxiètre / www.african-paris.com / www.agalom.com



Collection Armand Auxietre
Art primitif, Art premier, Art africain, African Art Gallery, Tribal Art Gallery
41 rue de Verneuil 75007 PARIS
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