MUSEUM news primarily from the coastal cultures of Chorrera, Bahia, Jama-Coaque, and La Tolita. 56 A third exhibition, also focused on the equatorial Americas, is the presentation of twenty-four photographic prints and negatives from the collection of the National Institute of Cultural Patrimony-Ecuador. Titled Par les images, patrimoine photographique équatorien (1900–1930) (Through Images: Ecuadorian Photographic Patrimony (1900–1930)), this installation documents the missionary activities of Salesian priests in northern Amazonia. Finally, Matahota, Arts et Société aux Iles Marquises (Matahota: Arts and Society in the Marquesas Islands) will be presented in the Garden Gallery from April 12– July 24, 2016. Some 300 works created between the eighteenth century and the present day attest to the power of an artistic tradition that has long fascinated Western artists. Marquesan art expresses a sophisticated aesthetic centered on the anthropomorphic fi gure. While it has never lost its essence, it was infl uenced by contact with the West in the nineteenth century. Mata Hota is curated by Carol Ivory, Professor of Art History at Washington State University, working in collaboration with Véronique Mu-Liepmann, who was curator of the Musée de Tahiti et des Îles from 1982 to 2011. RIGHT: Statue. Marquesas Islands. Wood. H: 117.5 cm. MQB, Matahota exhibition. © MQB. Photo: Patrick Gries/Bruno Descoings. RIGHT: Genealogical instrument. Marquesas Islands. Coconut fi ber. H: 110 cm. MQB, Mata Hota exhibition. © MQB. Photo: Claude Germain. RIGHT: Pounder. Nuku Hiva Island, Marquesas Islands. Stone. H: 17.2 cm. MQB, Matahota exhibition. © MQB. Photo: Claude Germain. ABOVE: Figure with feline traits. La Tolita, Ecuador. 400 BC–AD 400. Terracotta. H: 22 cm. MQB, Chamanes et divinités exhibition. © MQB. Photo: Christophe Hirtz.
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