ART IN MOTION 30 ABOVE: Installation view of Paintings by Derain and Early African Heads and Statues from the Gabon Pahouin Tribes, organized by Paul Guillaume at Durand-Ruel Gallery, New York, February 20–March 15, 1933. Archives Durand-Ruel. © Durand-Ruel & Cie/André Derain © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris. and acknowledged. The latter is certainly the case for Pablo Picasso, Alexander Calder, and David Smith, who are represented both through their own creations and the African art objects that were once in their personal collections. Textile Masterpieces MARRAKECH—Galerie Rê is presenting an exhibition featuring some thirty Moroccan textiles selected from the works in the collection of Tamy Tazi and Lucien Viola, well-known connoisseurs in this fi eld. Produced in partnership with Daniel Shaffer and Ben Evans, editors of the acclaimed HALI magazine, the exhibition affords an opportunity to discover the subtleties and richness of the textile traditions that developed in various Moroccan communities in the nineteenth and twentieth centuries. ABOVE: Reliquary guardian figure. Fang, Gabon. Wood. H: 50 cm. Ex Paul Guillaume, inv. 603. Shown at Durand-Ruel Gallery, New York. Private collection. RIGHT: Textile (detail). Zemmour, Morocco. 18th–19th century. Linen fabric embroidered with red, blue, and black silk thread. 216 x 129 cm. Galerie Rê. LEFT: Bernard de Grunne. Imaginary Ancestors at Almine Rech Gallery, New York. Imaginary Ancestors NEW YORK—New York’s Almine Rech Gallery is hosting an exhibition worthy of any major museum. On view until June 15, 2017, Imaginary Ancestors was produced in collaboration with Carlo Severi (EHESS and CNRS) and well-known dealer Bernard de Grunne, who has distinguished himself in recent years with his thematic exhibitions at TEFAF and Frieze Masters. The show’s exploration of the notion of “primitivism” —a much misused term that references the traditional creations of Africa, Oceania, Asia, and the Americas in the context of modern and contemporary art—is divided into two parts. The fi rst is an homage to the 1933 exhibition dedicated to André Derain at the Durand-Ruel Gallery in New York, in which the master’s canvases were presented side by side with some twenty Fang reliquary guardian fi gures selected by Paul Guillaume. This installation is documented in an archive photograph showing a large rectangular table holding about ten sculptures— heads and full fi gures—set against a section of wall hung with paintings. This photo served as a point of departure for the research embarked upon by de Grunne to locate the objects that were presented at this iconic show, the fi rst to focus on a particular type of African object. Imaginary Ancestors provides the opportunity to see some of these pieces, which are supplemented by others similar in style to the ones included in the Durand-Ruel Gallery, which could not be moved to New York for the occasion, all presented in a setting emulating the one in 1933. Furthering its refl ection on the connections between African art and the reimagining of the artistic language developed by the proponents of modernism, the second part of the exhibition at Almine Rech presents modern and contemporary artworks that display creative solutions resonating with those seen in the African objects shown alongside them. Most of these associations are quite freely made, but some of them are established
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