ADAM 136 2014 BOOKS PILAT By Max Itzikovitz In the tribal art world, as elsewhere, artworks of outstanding quality are rare. Here I intentionally avoid the much-abused term “masterpiece,” which I reserve for the Venus of Lespugue. Yet certain inspired artists— demiurges, really—have strayed from the beaten path and transcended the context in which they worked by creating exceptional artworks. Collectors bring a new approach and a new way of seeing to these arts. The collector adds, while the mere afi cionado retreats, because the former is in search of excellence. This is what Ana and Antonio Casanovas brilliantly demonstrate in their superb book ADAM: Ancient Masters from Africa, Pacifi c, and America, which features 179 sculptures from all periods and places within its scope. Ana and Antonio have searched for excellence as far away as the forgotten islands of Indonesia: The beautiful Kei Island sculpture in this book was one of their discoveries. This was a hitherto unknown art form, and no other traveler or ethnologist had previously brought back a sculpture from this island. I wish I could discuss each of the objects in this exceptional book, especially since the title reveals little, though that is all for the best. In the presence of so many sublime sculptures (and I choose my words carefully), silence is best. Manel Armengol’s fi ne photographs reveal what is essential. His use of black and white emphasizes the three-dimensional qualities of the pieces in all their depth, in a way that color photographs cannot convey. Hats off also to Juan Laguna, the creator of the color video that accompanies the book. Innovatively, his camera circles around the objects, panning out and then back in from another angle, in order to reveal unexpected sculptural aspects. The result is surprising. Let us move on to look at some of the artworks about which I am particularly enthusiastic. ABOVE: Statue, Austral Islands. Miracles seem to occur often in the Casanovas family. This sculpture, a unique example in this style from the far-fl ung Polynesian islands, provides some idea of the terrible losses wrought by the mass burning of “idols” that was practiced in the nineteenth century. Was the mastery of these artists always as apparent as it is in this rendering of the deity A’a? The elongated and geometric arms work in opposition to the thick torso and legs. The small and beautifully sculpted head that surmounts the fi gure brings to mind secular Polynesian art. ADAM, fi g. 147. Revisiting PILAT 2014 Jury’s honorable mention Éditions Arte y Ritual, Ana & Antonio Casanovas 34 x 31 cm, 180 pages, 266 illustrations Hardcover with slipcase
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