56 ABOVE LEFT: Kifwebe mask. Songye, DR Congo. Museum der Kulturen, Basel. ABOVE RIGHT: Installation view at the Fondation Pierre Arnaud, 2014. © Sébastien Crettaz. LEFT: Coco Fronsac, Un Goli à la Campagne de la Série “Chimères et Merveilles,” 2009. © Private collection, Musée du Carnaval et du Masque, Binche. RIGHT: Mask. Bella Coola, British Columbia, Canada. 1880. © Daniel Hourdé Collection. RIGHT: Exhibition poster. © Fondation Pierre Arnaud. RIGHT CENTER: Alberto Giacometti. Femme (plate ll). C. 1928–1929. Collection of the Fondation Alberto and Annette Giacometti, Paris. © 2014 Prolitteris, Zurich. TRIBAL ART IN CANNES Cannes—Tribal art enthusiasts will find what it takes to quench their thirst in Cannes this summer. The city is offering a three-part program organized around the Musée de la Castre’s collection and two nearby temporary exhibitions. The Musée de la Castre usually presents Mediterranean antiquities as well as works from the main civilizations of Africa, Oceania, the Americas, and Asia. The core of its tribal art collection is a beautiful group of Polynesian objects collected by explorer Edmond Ginoux de la Coche in 1843. It alone makes a visit to the museum worthwhile. The Centre d’Art La Malmaison’s exhibition, De l’Expressivité Primitive au Regard Inspiré (From Primitive Expressiveness to Inspired Perception), on view until October 26, explores the influence of African forms on twentieth- and twenty-first-century art through a selection of works drawn from private collections. That theme continues at the villa of painter Jean-Gabriel Domergue until September 28 in an exhibition that features a famous nude of Josephine Baker taken in 1940 and works by Arman and other artists who were influenced by the aesthetics of tribal societies. SURREALISM AND TRIBAL ART Lens (Switzerland)—At the beginning of the twentieth century, avant-garde artists were the first Westerners to recognize and reveal the fabulous aesthetic potential of the so-called primitive arts. The next generation, that of the surrealists, which was profoundly impacted by the disaster of the Second World War, would find forms and symbols of universal thought in tribal art and would question the fundaments of the Western aesthetic model. The surrealists added an aesthetic dimension to the ethnological approach to objects and, in doing so, revolutionized our perceptions of the “Other.” Its exhibition Surréalisme et Arts Primitifs— un Air de Famille (Surrealism and Tribal Art—A Family Story), on view until October 5 at the Pierre Arnaud Foundation, relives the intellectual path taken by surrealists such as André Breton, Max Ernst, Man Ray, and Yves Laloy, to name but a few, by showing their works alongside those that inspired them. A selection of surrealist graphic works as well as North American masks, Oceanic sculptures, and African statues from both private and institutional collections illustrate and identify the relationships that enrich and unite these two very different universes.
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