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54 Afrique la croisée des mondes 18 € ttc Cet ouvrage propose une relecture de l’art africain trop souvent qualifié de « premier » ou « primitif » qualificatifs qui sous-entendent l’idée de peuples immuables et donc d’un art figé dans le temps. Les arts africains portent bien au contraire en eux les traces matérielles et formelles de rencontres et d’échanges multiples, parfois très anciens, aussi bien avec le monde musulman, l’Asie, l’Europe mais également au sein du continent. Ainsi, des objets fameux comme les ivoires afro-portugais, la statuaire akan ou baoulé, les gardiens de reliques Kota, les perlages sudafricain ISBN 978-2-84280-261-5 ou textiles swahili sont présentés sous ce jour 6, av. du Gouv.-Général-Binger 94100 Saint-Maur-deS-FoSSéS www.editions-sepia.com nouveau. Afrique la croisée croisée des mondes En couverture : masque Gouro, Côte d’Ivoire. Milieu du XXe siècle, bois peint. Musée d’Angoulême. En quatrième de couverture : gardien de reliques Kota. Gabon. Bois, laiton, fer et cuivre. XIXe siècle. Musée d’Angoulême. RIGHT: Mounted warrior. Senegal. Paint on glass. © Musée d’Angoulême. ABOVE RIGHT: Crucifi x. Senufo, Côte d’Ivoire. Wood. © Musée d’Angoulême. RIGHT: Military fi gure with a French medal. West Africa. Wood, pigment, metal. Alain Weill Collection. Photo: Alberto Ricci. LEFT: Mounted colonial fi gure. Baule, Côte d’Ivoire. Wood, pigment, metal. Alain Weill Collection. Photo: Alberto Ricci. ABOVE: Vessel. Mangbetu, DR Congo. Terracotta. Philippe Brissaud Collection. © Musée d’Angoulême. ABOVE: Poster for the exhibition at the Musée d’Angoulême. WHITE MAN/BLACK MAN Lens (Switzerland)—Fascination, repulsion, desire, and even mockery have long characterized the ways in which Africans and Westerners have perceived one another. The second exhibition devoted to African art at the Pierre Arnaud Foundation, Homme Blanc/Homme Noir, Impressions d’Afrique (White Man/Black Man, Impressions of Africa), on view until October 25, 2015, examines several centuries of exchange and misunderstanding through a selection of works created between the seventeenth and twentieth centuries by both African and European artists. The visions of Westerners such as Géricault, Vallotton, and even Man Ray are juxtaposed with those of anonymous Igbo, Baule, or Kongo sculptors. The works displayed are from public collections (the Musée du Louvre and the Musée Royal d’Afrique Central in Tervuren), as well as from private ones, most notably that of Alain Weill, an interview with whom is featured in this issue. AFRICA: CROSSROADS OF THE WORLDS Angoulême—Afrique: la Croisée des Mondes (Africa: Crossroads of the Worlds), an exhibition on view at the Musée d’Angoulême until January 3, 2016, is intended to demonstrate that the notion of African art as an immutable constant fi xed in time is a false one. Hybrid forms are ubiquitous on the continent, a place where the traditions of one culture often intersect and commingle with those of others. Infl uences from beyond the continent are also abundant, whether through the propagation of Islam (amulets, gold weights) or encounters with the West (Afro-Portuguese ivories, Christian objects). Through the examination of the processes of evolution and change, the exhibition demands a reconsideration of commonly held notions of authenticity in African art, which require that an object conform to certain pure and traditional cultural canons. In fact, the phenomena of hybridization and acculturation should cause us to adopt broader criteria. MUSEUM news


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