69 While I was still ruminating on the idea, I met Jacques Blazy, the renowned Pre-Columbian art expert in Paris. He in turn introduced me to André Delpuech, curator for the American collection at the Musée du Quai Branly. Both played essential roles in the production of Il mondo. Jacques curated the exhibition and André presided over the academic committee, to which Federico Kauffmann Doig, Andrea Pessina and Sylvie Peperstraete also contributed. All of these specialists enhanced the exhibition with their knowledge and expertise and I have learned a great deal from them. FIG. 2 (above): Case dedicated to the art of Teotihuacan with, at center, the famous jade mask from the Medici Collection held by the Museo degli Argenti in Florence. FIG. 3 (left): Gallery view, with an igneous stone statue from the Aztec of Mexico in the foreground. FIG. 4 (below): Poster at the entry of the exhibition featuring a Lambayeque mask from Peru in the Ligabue Collection. T. A. M.: So for you, producing this exhibition was not just a cultural effort but was an intense emotional experience as well? I. L.: Yes, absolutely. Perhaps above all, it was a dream opportunity for me to get closer to my father. We had a good relationship, but we saw each other very little. He always had absorbing professional responsibilities, and his last years were marked by health problems. As we progressed with Jacques and André in the selection of works, I immersed myself in my father’s archives. I read everything he had written about these objects, ranging from scribbled notes on loose papers or in the margins of auction catalogs, to scholarly articles for Ligabue Magazine, a biannual publication
•TribalPaginaIntera.indd
To see the actual publication please follow the link above