par Armelle Malvoisin, Le Journal des Arts - n° 276 - 29 février 2008

En intervenant pour empêcher la vente de pièces litigieuses d’arts premiers chez Tajan, plusieurs experts parisiens posent le problème de l’expertise.

Un scénario qui a tourné au cauchemar. « La consultation du catalogue nous a interloqués », rapportent quatre marchands et experts parisiens (Bernard Dulon, Philippe Ratton, Christine Valluet pour les arts tribaux, et Jacques Blazy pour l’art précolombien) dans une lettre datée du 15 février 2008 et adressée au président du Syndicat national des antiquaires (SNA). 

Ceux-ci indiquent que de nombreux collectionneurs leur ont demandé leur avis sur l’authenticité des pièces proposées. Ils les ont donc examinées sur place au moment de leur exposition. 

Dans leur courrier, sur les 326 pièces composant au total

STRENGTH AND MEASUREMENT

The discovery of "primitive art": an art of strength
Shapes and shape functions
Deities and ancestors
The living wood

Force and Measurement

Develop an aesthetic of black Africa is seen as a risky business in many ways. Is it legitimate to isolate these objects, that today we call art, the general framework of their relations and their cultural constraints? Can we submit to a test that has never existed in the minds of their creators? And can we finally see in this art - if we 'take on this term - a uniform phenomenon, despite the wide variety of both regional and local styles we offer this huge continent, following lengthy Historical developments often poorly understood? Finally, remember that this approach excludes large regions, including Africa white, that is to say the Mediterranean area with its ancient history, the eastern and southern Africa whose pastoral peoples have given rise to cultures almost without images, and finally these hunting societies, which, even in our time have not passed the stage of evolution of prehistoric rock paintings which are the main evidence of an artistic production that appears at various points the continent. Similarly, we must exclude from our contribution to the aesthetics of black African art the old feudal societies, including Benin. Our discussion is therefore limited to large areas farmers, the true cradle of

AFRICAN SCULPTURE

Introduction
Context of African sculpture
Places of traditional African sculpture
Canons of African sculpture
Techniques and creative
Aesthetic
Role of African sculpture in the middle
Universal impact of African sculpture
Bibliographic


Introduction

Never has been written about as much ink as traditional African sculpture. Ever, despite all attempts, the man has managed to evacuate his mental field, much less its history, that is to say of his encounter with the other. It has been a cornerstone to measure the "civilization" of the black man and his ability to create capacity variously appreciated throughout history until early this century, cubism helping, the unanimously begins to make the exceptional nature of African sculpture that was always confused with African art which it is a party, probably the most important, if one were to judge solely by the number Parts created that we have reached.

Context of African sculpture

We can talk about African sculpture in isolation from the rest of the arts of Africa south of Sahara. Every word in this area is responsible not only meaningless but history, and if we chose the term "African art" is to fully assume all we have inherited from the past in

Study on the sacred


Introduction
The sacred: the real paradigm
The flaw in the anthropological research of the sacred
The position of the African researcher
The inconsistency of the true-false paradigm of the irrational
The crucial importance of the event
Ancestor worship: in search of a definition
The premier event: the phenomenon agrarian
Biological Bases
The neurobiological underpinnings
Astronomical Foundations
Conclusion
Bibliography


Introduction


Welcome to this site dedicated to refuting the paradigm of the irrational use explicit about the facts of sacred archaic or traditional societies, and especially African societies.

As a member of these societies, the systematic use of the irrational as ultimate explanation of these facts is offensive and we might seem a lack of rigor in research.

In the approach to ethnology-anthropology there is always explicitly or implicitly begging the question that traditional societies through their culture could not produce something intellectually coherent. This profession of faith explains the systematic irrationality as an explanation of the ultimate sacred facts.

By irrational, what is heard is indeed something wrong, incoherent, that defies logic, in

Socleurs/restaurateurs:

Ebenisterie DAGORN

FOURNISSEUR DU MOBILIER NATIONAL, DIPLÔMÉ DE L'ÉCOLE BOULLE

See the continuation... ]

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.

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