BRUNEAF Brussels—The twenty-fi fth annual summer Brussels Non-European Art Fair (BRUNEAF) will be held this year from June 10 through 14. BRUNEAF is the doyen of extra-European art events in the Old World and has long been a not-to-be-missed event thanks both to its convivial atmosphere and to the quality of the artworks that can be discovered there. After a few relatively subdued 38 years, the show promises to be back in full force this season thanks to the efforts of its new committee of directors, whose credo seems to be “ambition, work, and passion.” Now at its quarter-century anniversary, this event will include forty-seven participants, the complete list of which can be found on the fair’s website at www.bruneaf.com. The fl avor of the show will be resolutely international, both in terms of the dealers who will be exhibiting and the quality of the works that will be on hand. As has been the case in years past, various activities surrounding the show have been planned. The most awaited of these will be a more or less autobiographical exhibition featuring a selection of the fi nest pieces sold by its participants at BRUNEAF in past years, which will be on view at the beautiful Ancienne Nonciature. Titled Uzuri wa Dunia: Belgian Treasures, this is intended to be an homage to and a gesture of appreciation toward the collectors who have made BRUNEAF the premier “summer festival” of tribal art over the last twenty-fi ve years. In addition to this exhibition, two lectures have been announced, though their time and place are pending. The fi rst, on Tshokwe art, will be presented by Julien Volper of the Cultural Anthropology and Ethnology Department at the Musée Royal d’Afrique in Tervuren. The second, titled “L’Art Africain d’Hier à Aujourd’hui” (African Art from Yesterday to Today) will be given by Marc Leo Félix and Roger Pierre Turine. Its title and subject are in perfect harmony—probably not by accident— with the mission of this year’s guest of honor, the Sindika Dokolo Foundation, headquartered in Luanda (Angola) in the heart of Central Africa. The history of this region is profoundly linked with that of Belgium, and the art from this area is beautifully represented in the foundation’s galleries. It is named after the businessman who created it in 2005, and its purpose is to promulgate African culture in all its forms, a mission it shares with the BRUNEAF event. One means of achieving this goal is Sindika Dokolo’s collection of contemporary African art, which he began to assemble with Angolan artist Fernando Alvim in 2004. Perhaps better thought of as an African’s art collection than as a collection of African art, it is comprised of more than 550 pieces by 140 artists from twenty-eight African nations and continues to grow as it begins to include traditional works as well. ART in motion BELOW: Figure, nkisi. Songye, DR Congo. Galerie Ángel Martín. Photo: Ángel Martín. BELOW RIGHT: Group of knives. Fang, Gabon. Galerie Mestdagh. Photo: Paul Louis. ABOVE: Mask. Punu, Gabon. Galerie Guilhem Montagut. Photo: C. Insenser. LEFT: Mask. Wobe, Côte d’Ivoire. Galerie Olivier Larroque. Photo: Hughes Dubois. LEFT: Abstract fi gure. Lega, DR Congo. To be presented at BRUNEAF in Uzuri wa Dunia, Belgian Treasures. Private collection. Photo: Vincent Everarts. LEFT: Seated Chibinda Ilunga fi gure. Tshokwe, Angola. To be presented at BRUNEAF in Uzuri wa Dunia, Belgian Treasures. Private collection. LEFT: Banner for the exhibition Masques géants du Congo, curated by Julien Volper and on view at the Musée BELvue during BRUNEAF and through November 8, 2015.
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