58 LEFT: Reliquary guardian head. Fang, Gabon. Wood. H: 19.3 cm. Musée du Quai Branly, inv. 71.1939.34.1. Photo: Thierry Ollivier, Michel Urtado. © Musée du Quai Branly. BELOW: Altar figure. Baga, Guinea. Wood. H: 60.9 cm. Musée du Quai Branly, inv. 773.1969.6.1. Photo: Thierry Ollivier, Michel Urtado. © Musée du Quai Branly. framework of predetermined rules. Images that can be read in more than one way, that reveal different aspects when inverted, or that fuse animal and human forms are all examples of this sort of method of capturing attention and transmitting messages. The exhibition is divided into three parts—Oceania, Africa, and the Americas—and highlights the talent and inventiveness of artists from many cultures and time periods through a selection of forty hitherto unseen works—masks, shields, bark paintings, sculptures, rattles, and other treasures—lent by the Musée du Quai Branly. RIGHT: Bullroarer. Papua New Guinea. Wood, pigment. H: 46.3 cm. Musée du Quai Branly, donated by Georges Henri Rivière, inv. 71.1931.49.21. © Musée du Quai Branly. LEFT: Gable mask. Kilimbit village, Papua New Guinea. Wood, pigments. H: 61 cm. Musée du Quai Branly, inv. 71.1955.76.194. Photo: Claude Germain. © Musée du Quai Branly. MAGICAL IMAGERY Ardèche—Spring of 2015 will see the opening in Ardèche in southern France of a faithful replica of the famous Chauvet Cave, which contains masterpieces of prehistoric wall painting. This creates the perfect occasion for a series of exhibitions organized in collaboration with the Musée du Quai Branly that foster an intercultural dialog transcending time and space. The series started in 2013 at the Château de Vogüé with Chasses Magiques, and the second installment, titled Image’N Magie, will be shown at the Château-Musée de Tournon from June 17– October 6. Curated by Yves Le Fur, director of the department of Patrimoine et des Collections at the Quai Branly, in collaboration with Jean-Michel Geneste, curator of patrimony at the Ministère de la Culture et de la Communication, this exhibition seeks to decipher codes embedded in magical imagery. Whether creating a mask, painting on bark, or adorning the inside of a cave or dwelling, prehistoric man, just as the artists of more recent tribal communities, strove to communicate messages that can be understood only within a
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