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71 FIG. 2 (below): Photograph of a man and a sculpture on a veranda, probably before 1952. Unidentified photographer. © 2015 Musée du Quai Branly, Paris/Scala, Florence. Citing an exchange with Fr. Michel Convers, connoisseur Burkhard Gottschalk (2002: 85–88) reports the missionary selected the sculpture for himself at the request of the head of the town of Lataha. Convers further noted that the figure was repaired after he carried it back to the Catholic mission. He later agreed to trade the sculpture with Swiss dealer Emil Storrer, receiving a tape recorder in exchange (see also Bochet 1993: 76, fig. 77). This photograph shows a man identified as Storrer’s photographer-travel companion and brother, Jörg, with the sculpture dressed in a hat and work boots. comprising both household objects and elements of personal dress and adornment. The exhibition’s sixth and final section calls into question boundaries of the corpus regularly framed as Senufo. The exhibition thus concludes by illustrating the fuzziness and fluidity of cultural or ethnic borders while also revealing constraints of labels and attributions common to collectors, dealers, curators, and other scholars. FIG. 3 (below right): Face mask attributed to Nadono Soro, active in Korhogo, Côte d’Ivoire. Wood. H. 33.8 cm. Reported provenance: Acquired by Albert Maesen in Côte d’Ivoire, 1939; Albert Maesen, Brussels, 1939 to 1974. Royal Museum for Central Africa, Tervuren (gift of Albert Maesen, 1974), EO.1974.61.3. Photo: Bart Huysmans & Michel Wuyts © Royal Museum for Central Africa, Tervuren. Belgian scholar Albert Maesen conducted the first-ever arthistorical field research on arts identified as Senufo in 1939. According to art historian Anja Veirman (2001: cat. 126), Maesen distinguishes between performances of face masks anyone could see and more restricted events of formally similar masks.


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