MUSEUM NEWS Empreinte Noire ORVAULT—Château de la Gobinière in the town of Orvault (Black Imprint), on view there until December 4, 2016. The show was developed by collector and African art enthusiast 56 unique for their hybrid nature. Prominent among these are feather “paintings,” of which six are known to have survived in France. The installation also presents baroque Andean pieces and concludes with an exploration of contemporary feather creations by Nelly Saunier. November 22 saw the opening of two more exhibitions celebrating the diversity of human creative genius. Éclectique, une collection du XXIe siècle (Eclectic: A 21st-Century Collection), a show about the intellectual and aesthetic path of private collector Marc Ladreit de Lacharrière, opened in the museum’s East Mezzanine gallery. His eclectic tastes are expressed through a selection of masterpieces that include not only tribal artworks but also antiquities and contemporary objects as well. This is the subject of an in-depth article by Hélène Joubert, the exhibition’s curator, which appears in this issue. On the same day and nearby on the East Mezzanine, Du Jourdain au Congo, Art et christianisme en Afrique centrale (From the Jordan River to the Congo River: Art and Christianity in Central Africa) also opened. Put together by Julien Volper, curator of African art at the Musée Royal de l’Afrique Centrale in Tervuren, this exhibition explores the impact of Catholicism and Christian iconography on the art and culture of Kongo peoples and their neighbors. It features crucifi xes, religious sculptures, engravings, and drawings from this unusual corpus of works, drawn from both private and public collections, mainly in France and Belgium. The exhibition explores how traditional African religions were viewed through the lens of Christianity, as well as how it spawned art forms, especially recently through various Pentecostal “revivalist” and evangelical movements. Look for an article in the spring issue of Tribal Art magazine. Finally, a fourth exhibition titled L’Afrique des routes (The Routes of Africa) will open on January 31, 2017, and will be on view until November 12. The brainchild of Gaëlle Beaujean-Baltzer, curator of the museum’s African collection, in collaboration with Catherine Coquery Vidrovitch of Paris 7 University, this event affi rms Africa’s central place in world history. Sculptures, paintings, jewelry, and objects in gold, among other objects, will represent the riverine, maritime, and commercial land routes that have made Africa a continent of commerce and trade for more than fi ve millennia. Right: Anonymous, Apparition de la Vierge de Caïma. Peru. 18th century. Oil on canvas. H: 53.2 cm. Musée du Quai Branly – Jacques Chirac, © Collection Priet-Gaudibert. Shown in Plumes, visions de l’Amérique précolombienne. Below: Crucifix. Kongo, DR Congo. Copper alloy. Private collection. Photo: Paul Louis. Shown in Du Jourdain au Congo. Below: Headcrest. Baga, Guinea. Second half of the 20th century. Wood, polychrome. H: 53.2 cm. Musée du Quai Branly – Jacques Chirac. Photo: Claude Germain. Shown in L’Afrique des routes. is the venue for an exhibition titled Empreinte noire Patrice Masseboeuf, and its title honors Raoul Lehuard and his Arts d’Afrique Noire magazine. The installation is composed of a group of privately owned works of varied type and origin. Together these objects trace the courses of two of the major rivers of Africa, the Niger and the Congo, while forming a succinct introduction to the diversity of the arts of the continent. An illustrated catalog with descriptions of the artworks in the exhibition accompanies the show. Left: Power figure. Songye, DR Congo. Wood, beads, fabric, cordage. H: 26 cm. Ex Philippe Ratton, Paris; Richard Carchon, Brussels. Shown in Empreinte Noire. The Season at the Quai Branly PARIS—Events have been following one another in rapid succession at the Musée du Quai Branly – Jacques Chirac since the beginning of autumn. After the October 4 opening of The Color Line: African-American Artists and Segregation, an exhibition that explores the role of art in the affi rmation of black identity in segregated America, three more important events on cultural dialog opened in November and another is upcoming in January. From November 22, 2016, until January 29, 2017, the museum’s Atelier Martine Aublet space is hosting Plumes, visions de l’Amérique précolombienne (Feathers: Visions of Pre-Columbian America). Produced in partnership with the Musée des Jacobins and the Agglomération du Grand Auch, the show explores the meanings and symbolic dimensions of feathers in Pre-Columbian America through a selection of feathered objects and various other artworks that testify to the importance of this material in Meso-American cultures. The fascination for Aztec featherworks held by the European missionaries who came to Mexico is also examined. They commissioned works that are
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