77 FIG. 10 (below): Martin Barré (1924–1993), 63Cf, 1963. Enamel paint and acrylic spray paint on canvas. D: 130.5 cm. Ex Frederick and Marcia Weisman Family Collection, Beverly Hills, acquired in 1960; Galerie Nathalie Obadia, Paris. © Musée du Quai Branly – Jacques Chirac. Photo by Claude Germain. FIG. 11 (right): Protective fi gure, nkishi. Songye, central Kalebwe, DR Congo. 19th century. Wood, copper, iron, vegetal fi ber, animal hide, pigment, composite substance. H: 86.5 cm. Collected in Elisabethville in 1934– 1935 by Dr. Lucien van Hoorde, Brussels. Ex Dr. Albert Godart, Belgium; Wayne Heathcote, 2002; Bernard Cats, Brussels; Pierre Dartevelle, Brussels; Sotheby’s, Paris, June 23, 2006, lot 131. © Musée du Quai Branly – Jacques Chirac. Photo by Claude Germain. large standing Senufo Poro fi gurative pounder (fi g. 9) with her hands on her hips and that of a delicate Amlach fi gure with her hands above her navel, both of which bring to mind the generative power of women. The connections that one can make, more or less consciously, between these works develop in tandem with increasing sensitivity and knowledge. Together they affi rm an egalitarian vision in which a dialog between classical antiquity and sub-Saharan Africa makes perfect sense. The installation also examines the juxtaposition of abstract Western pictorial works with African fi gurative statuary, both in the context of the work space, characterized here as conversations
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