ACTUALITÉ MUSÉES 72 Jewelry GENEVA—Following the success of its Bijoux des Toits du Monde (Jewelry from the Roof of the World) exhibition on jewelry from the mountainous reaches of the Silk Road, the Fondation Baur, Musée des Arts d’Extrême-Orient is now presenting Bijoux d’Orients lointains. Au fi l de l’or et de l’eau (Jewels of the Distant East: Gold Across the Sea). The show will present some 300 gold ornaments—hair decorations, bracelets, belts, necklaces, etc.—produced along the maritime circuit of historical Far Eastern trade routes and now in private hands. A voyage through time and space, the exhibition focuses on the diversity, richness, and symbolic dimensions of precious accoutrements ranging from the kingdoms of Arabia to insular Southeast Asia produced by talented goldsmiths whose names are lost to history. It opens with the desert kingdoms, represented with examples of archaeological jewelry, and continues with an exploration of traditional ornaments from Yemen, Oman, and the mountains of Saudi Arabia. A second gallery is devoted to the jewelry of India, characterized by a balance expressed in their combinations of stylized and naturalistic designs. The ancient empires of Southeast Asia—Burma, Cambodia, Thailand, and Vietnam—are featured in a third gallery through a selection of more jewelry derived from an archaeological context. On display until February 26, 2017, the installation concludes with a display of goldwork from the vast territory defi ned by the myriad islands of Indonesia and the Philippines. This dazzling presentation is complemented by a selection of textiles and sculptures on loan from a private collection and from two other major Geneva institutions, the Geneva Ethnography Museum and the Barbier Mueller Museum. The exhibition is accompanied by a book published by 5 Continents Editions that features excellent photography along with informative essays by Monique Crick, director of the Fondation Baur, and Bérénice Geoffroy-Schneiter, an art historian specializing in the art and history of jewelry. Necklace, digg. Oman. Mid 20th century. Silver, silver leaf, glass paste, cotton. L: 35 cm. Right: Crown. Western Sumatra, Indonesia. 19th–20th century. Gold. H: 17.5 cm. Above: Female mask, gu. Guro, Côte d’Ivoire. Hardwood; black, red, and white pigments. H: 32 cm. Musée Barbier-Mueller, 1007-223. Photo: Studio Ferrazzini Bouchet. Above right: Mask, ju or lo, by Kouakou Dili. Yaure, Côte d’Ivoire. Wood. H: 41 cm. Collected by Hans Himmelheber in 1934. Ex Josef Mueller, acquired before 1939 from Charles Ratton. Musée Barbier-Mueller, 1007-8. Photo: Studio Ferrazzini Bouchet. Below: Flywhisk, triwoli. Yaure, Côte d’Ivoire. Wood, horsehair. L: 14.8 cm. Musée Barbier-Mueller, 1007-208. Photo: Studio Ferrazzini Bouchet. The Yaure GENEVA—Until April 30, 2017, the Barbier-Mueller Museum in Geneva will present Arts de la Côte d’Ivoire, autour des Yohouré (Arts of Côte d’Ivoire: Around the Yaure). Although long known to and appreciated by afi - cionados, there have been fewer publications and even less research done on the art of the Yaure than on that of their Guro, Baule, Senufo, and Dan neighbors. This defi - ciency served as an incentive for the museum to present its collection of Yaure masks, mouse oracles, and fi gurative sculptures, allowing the public the opportunity to admire them alongside the works of nearby cultures in a sober installation that emphasizes their refi nement. The show is accompanied by the fi rst monograph devoted to the Yaure, published by the Fondation Culturelle Musée Barbier-Mueller, which has sponsored many works on peoples threatened with acculturation. This project was underwritten by Vacheron Constantin. The author, Alain- Michel Boyer, is an eminent and recognized scholar who has conducted extensive fi eld research within this culture since the 1970s.
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