MUSÉE à la Une 42 ABOVE: Rosemary Lewandowsky-Lois, Merchants of the Gods. Mr. and Mrs. J. J. Klejman, 1970, surrounded by African and Oceanic sculptures. Painting reproduced by permission of the artist. BELOW: Female fi gure. Cameroon. MHNEC Collection, don de Marie Gocker en 1933. Photo: Jo Kugler. AFRICA AND DONORS Colmar—Under the directorship of Annick Walker and the academic supervision of Josette Rivallain, the Société d’histoire naturelle et d’ethnographie de Colmar (Colmar Natural History and Ethnography Society) is producing a show on the history of the collection of the Musée d’Histoire Naturelle et d’Ethnographie. It is intended to be an homage to the main donors responsible for forming it. Many of these donors were originally associated with the earlier Société d’histoire naturelle de Colmar (Colmar Natural History Society), which was founded in 1859. Its members discovered African art in the course of their travels, within the context of their professional work abroad as physicians, soldiers, public servants, etc., most of whose names are no longer familiar. The objects they gave the museum were testimonies to the encounters they had had with “others.” Afrique et donateurs: une histoire colmarienne du XIXe siècle à nos jours (Africa and Donors: A Colmar History from the 19th Century to the Present) will be on view from February 1 until December 23, 2016. PAIR(e) Brussels—Since 2011, Brussels has had a place for encounters and debates relating to the passion for collecting. This is the Maison Particulière art center, which is showing an unusual exhibition titled Pair(e), on view until December 13. The exhibition consists of about one hundred highly diverse works, all presented in pairs. They come from two private collections assembled by members of a same family, a fact that is far from incidental insofar as the show’s intent specifi cally is to refl ect on the motivations of the collector, which can be individualized or can be profoundly marked by history or by family tradition and taste. Tribal art is represented in the exhibition by a group of masks, fi gures, and utilitarian objects from Africa (Côte d’Ivoire, Mali, Gabon, and Congo, among other regions) and Oceania (Fiji, New Ireland, and the Sepik River area of Papua New Guinea), all arranged around an emblematic canvas titled Merchants of the Gods, Mr. and Mrs. J. J. Klejman (1970), by artist Rosemary Lewandowski- Lois, wife of collector George Lois, an interview with whom ran in issue number 71 of this magazine.
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