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 GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

GALERIE ART PREMIER AFRICAIN GALERIE ART PRIMITIF AFRICAIN AFRICAN ART GALLERY

Art Gallery the Eye and the Hand
Situation : Welcome » Result of the research
Result of the research Result of the research : 'texte'

Hornbill mask, Gurunsi-Nuna, Burkina Faso
Hornbill mask, Gurunsi-Nuna, Burkina Faso
€ 4,500.00
Facial Kwele mask with horns, Gabon
Facial Kwele mask with horns, Gabon
€ 150,000.00
Poupée biga
Poupée biga
€ 2,600.00
Female Kifwebe mask, Songye, Democratic Republic of Congo
Female Kifwebe mask, Songye, Democratic Republic of Congo
€ 12,000.00

Study on the sacred


Introduction
The sacred: the real paradigm
The flaw in the anthropological research of the sacred
The position of the African researcher
The inconsistency of the true-false paradigm of the irrational
The crucial importance of the event
Ancestor worship: in search of a definition
The premier event: the phenomenon agrarian
Biological Bases
The neurobiological underpinnings
Astronomical Foundations
Conclusion
Bibliography


Introduction


Welcome to this site dedicated to refuting the paradigm of the irrational use explicit about the facts of sacred archaic or traditional societies, and especially African societies.

As a member of these societies, the systematic use of the irrational as ultimate explanation of these facts is offensive and we might seem a lack of rigor in research.

In the approach to ethnology-anthropology there is always explicitly or implicitly begging the question that traditional societies through their culture could not produce something intellectually coherent. This profession of faith explains the systematic irrationality as an explanation of the ultimate sacred facts.

By irrational, what is heard is indeed something wrong, incoherent, that defies logic, in

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THE WAY OF THE AFRICAN RENAISSANCE

Text from the "diplomatic world" in October 1998

In economic terms, Africa figure of poor and marginalized continent. Since the end of the Cold War, it appears as an area that declassified no longer a geopolitical and diplomatic challenge for the major powers. Outside of emergencies that require humanitarian intervention, nobody is really interested in the fate of 700 million men and women who live in this part of the world. "Bankruptcy of development"? "Retard"? Or, rather, strength of African societies, refusing to be trapped neoliberal, and the emergence of alternatives to the Western model of development?


Few studies of the continent really leave room for hope: it keeps repeating that it "Africa sinks" and becomes "a repository of humanity's ills." The image of a "continent wrecked," repeated ad nauseam, seems to summarize all the perceptions of Africa that tend to be synonymous with poverty, corruption and fraud would be the home of violence, conflict and genocide. Images are projected onto Apocalypse "an impoverished Africa in the spiral of conflict." In the late twentieth century, "no continent offers such a spectacle of desolation, war and famine as Africa. (...) Slowly, the place is going to drift. "

The paradigm of "bankruptcy" is the same analytical framework of economic and social

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Texte de présentation extrait de l'ouvrage:
J. Kerchache, J-L. Paudrat, L. Stephan, L'Art Africain Jacques Kerchache, Citadelles, 1988

Sans méthode préalable, la passion de l'Afrique m'a propulsé au cœur du Gabon, m'a porté du Congo en Guinée équatoriale, de la Côte-d'Ivoire au Libéria, m'a conduit du Burkina Faso au Mali, de l'Éthiopie au Bénin, du Nigeria au Cameroun et de la Tanzanie au Zaïre. De ces expériences parfois difficiles, physiques certes, mais surtout intellectuelles et spirituelles, de ma participation à certaines cérémonies et à diverses manipulations d'objets, de mon immersion temporaire mais effective dans les cultes de l'ancienne Côte des Esclaves, je ne puis restituer aujourd'hui que des sensations, des impressions et je me garderai de toute affirmation.

Cependant, devant la sculpture africaine, il faut cesser d'avoir peur d'être profane et se laisser envahir par elle ; il faut s'en approcher, la fréquenter, se l'approprier, l'aimer. Lui offrir son temps, lui ouvrir sa sexualité, ses rêves, lui livrer sa mort, ses inhibitions, redécouvrir autre chose en soi. Sans lâcheté, ne pas hésiter à désacraliser, sans les rejeter, ses sources culturelles. Ne plus avoir cette taie sur l'œil et se laisser aller à la jouissance, se laisser gagner par la magie.

Même si nous ne pouvons contempler cette sculpture que par fragments, ceux-ci
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Maurice Delafosse
   
Maurice Delafosse (1870-1926) est un administrateur colonial français, africaniste, ethnologue, linguiste, enseignant et essayiste prolifique.

Biographie

Détail de la carte linguistique de Delafosse (1904) montrant la région où l'on parle le nafaanra (Nafana) à la frontière de la Côte d'Ivoire et du Ghana
Cette section est vide, pas assez détaillée ou incomplète. Votre aide est la bienvenue !

Ernest François Maurice Delafosse naît le 20 décembre 1870 à Sancergues dans le Cher, dans une famille catholique. Après une scolarité secondaire brillante, il entreprend d'abord des études de médecine à Paris. Très vite intéressé par les questions coloniales, il s'inscrit en 1890 à l'École spéciale des langues orientales et suit des cours d'arabe.

Un an plus tard, il interrompt ses études pour rejoindre en Algérie l'Institut des Frères armés du Sahara, organisme fondé par le cardinal Charles Lavigerie pour notamment combattre la traite des Noirs dans le Sahara. Il n'y reste que quelques mois, revient à Paris pour terminer son diplôme aux Langues
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Socleurs/restaurateurs:

 

Ebenisterie DAGORN

FOURNISSEUR DU MOBILIER NATIONAL, DIPLÔMÉ DE L'ÉCOLE BOULLE

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Présence Africaine

a forum, a movement, a network

Mezzanine East
Tuesday 10 November 2009 to Sunday, January 31, 2010
curated by Sarah-Frioux Salgas

African presence is the literary and cultural journal founded by Alioune Diop, the Senegalese intellectual in 1947, also became a publishing house from 1949. It was an outreach tool that has enabled black writers and intellectuals to assert their cultural identities and historical context that the colonial or denied "exoticizing.

This exhibition presents numerous books and archival documents, photographs and some objects. Sound recordings and audiovisual also occupy an important place: historical documents and interviews conducted specifically for this exhibition punctuate the route.

These give to see the emergence and influence of a movement, a forum for thought and demands of the black world at a time when much of the West had a distorted view, or derogatory.
route of exposure

The exhibition will feature four sections, preceded by an introductory sequence.
Exhibition opening

It is an object Dogon who happens to be the symbol of the journal, which will open the exhibition. It will present a brief review and the publishing house Présence Africaine, and to recall the relevance of such an exhibition today.

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Anthropologie religieuse

L'anthropologie religieuse est le domaine de l'anthropologie qui étudie le fait religieux, c'est-à-dire non seulement les pratiques ou les rites mais aussi les corpus théologiques savants ou non (mythes, textes sacrés, doctrine) propres à chaque tradition religieuse.
Indépendamment de la pratique religieuse, cette carte du monde représente la proportion de la population de chaque pays déclarant la religion comme quelque chose de « très important » pour elle : de 20% (en bleu) à 90% en rouge foncé ; en gris, pas de sondage disponible.


Essai de définition anthropologique du fait religieux

    * Tylor,1871 : C'est une croyance en des êtres spirituels. Avec Frazer, Tylor fait partie de l'« école » évolutionniste qui soutient le passage du fait religieux par trois stades : la magie, la religion, la science.
    * Durkheim : La religion est une émanation de la société et une célébration de la société par elle-même. Il fait partie de l'« école sociologique française » et tend comme Mauss et Weber à souligner l'importance du lien entre fait religieux et société.
    * Mauss : Ensemble de
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Mythology

The term "mythology" sometimes refers to the study of myths and sometimes refers to a body of myths. For example, comparative mythology is the study of connections between myths from different cultures, whereas Greek mythology is the body of myths from ancient Greece. The term "myth" is often used colloquially to refer to a false story;[4][5] however, the academic use of the term generally does not refer to truth or falsity.In the field of folkloristics, a myth is conventionally defined as a sacred narrative explaining how the world and humankind came to be in their present form.Many scholars in other academic fields use the term "myth" in somewhat different ways. In a very broad sense, the term can refer to any traditional story.

Nature of myths

Typical characteristics

The main characters in myths are usually gods or supernatural heroes. As sacred stories, myths are often endorsed by rulers and priests and closely linked to religion. In the society in which it is told, a myth is usually regarded as a true account of the remote past.[14][17][18][15] In fact, many societies have two categories of traditional narrative—(1) "true stories", or myths, and (2) "false stories", or fables.Myths generally take place in a primordial age, when the world had not yet achieved its current form.[14] They explain how the world gained its current form and how customs, institutions, and taboos were established.

Related
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Culture

Culture (from the Latin cultura stemming from colere, meaning "to cultivate")[1] is a term that has different meanings. For example, in 1952, Alfred Kroeber and Clyde Kluckhohn compiled a list of 164 definitions of "culture" in Culture: A Critical Review of Concepts and Definitions. However, the word "culture" is most commonly used in three basic senses:

    * excellence of taste in the fine arts and humanities, also known as high culture
    * an integrated pattern of human knowledge, belief, and behavior that depends upon the capacity for symbolic thought and social learning
    * the set of shared attitudes, values, goals, and practices that characterizes an institution, organization or group.

When the concept first emerged in eighteenth- and nineteenth-century Europe, it connoted a process of cultivation or improvement, as in agriculture or horticulture. In the nineteenth century, it came to refer first to the betterment or refinement of the individual, especially through education, and then to the fulfillment of national aspirations or ideals. In the mid-nineteenth century, some scientists used the term "culture" to refer to a universal human capacity.

In the twentieth century, "culture" emerged as a concept central to anthropology, encompassing all human phenomena that are not purely results of human genetics.
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Anthropologie de l'art

L'anthropologie de l'art est une science sociale qui s'attachait historiquement à étudier les productions plastiques et picturales des sociétés humaines dites « traditionnelles », « sans écriture » ou « primitives ». À l'instar des autres disciplines connexes ou relevant de l'anthropologie (comme l'ethnologie et la sociologie), on assiste ces dernières décennies à un élargissement de son champ d'étude, et elle correspond plutôt aujourd'hui à une analyse culturelle et symbolique de la production artistique sous toutes ses formes.

L'anthropologie de l'art se distingue de la sociologie de l'art en ce sens qu'elle privilégie non pas la dimension économique, politique ou médiatique des productions artistiques, mais qu'elle étudie plutôt la signification que celles-ci peuvent prendre dans leur culture d'origine; elles ne sont pas non plus étudiées pour leur valeur intrinsèque, comme ce serait le cas dans une critique d'art.

La question de l'objet

L'anthropologie de l'art se trouve dès ses fondements confrontée à une question épistémologique simple : Qu'est ce que l'art ?

Après de nombreuses tentatives pour résoudre cette question, c'est Erwin Panofsky qui a finalement
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Primitive arts: political nomenclature or singular art?

Eugene Berg
Diplomat, former ambassador to Namibia, Botswana and Fiji. Author of 'Non-alignment and
New World Order '(PUF, 1980),' The International Politics since 1955 '(Economica, 1990) and' Chronology
internati''o''nale: 1945-1997 '(PUF, "Que sais-je?", 4th ed, 1997). Works since No. 19-20 to review work
made in the journal 'The Banquet'.

The inauguration of the Musée du Quai Branly, just as the opening
second France-Oceania summit, was a highlight of the cultural
quinquennium of Jacques Chirac. He will no doubt what would have been the Centre
Beaubourg Georges Pompidou, Musée d'Orsay for Valery Giscard
d'Estaing and Francois Mitterand National Library for. Expresses this
place that has done since its opening subject to real and sustained enthusiasm
People and challenges no less significant part of the community
scientific and museum? As written immediately Berenice
Geoffroy-Schneiter, this is "no accident that our west in search of
Spirituality landmarks and turns to these desperate travelers
the invisible. "

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“Africa Remix” featured the work of over 100 African artists in a 2,200-sq.m exhibition space. With paintings by Chéri Samba, installations by Barthélémy Toguo, drawings by Frédéric Bruly Bouabré and photographs by Guy Tillim, “Africa Remix” revealed the varied facets of Africa’s contemporary arts scene.

The exhibition examined contemporary African art not only from an aesthetic angle but also from historical, political and ideological perspectives.

- Total pledges support for African art with the ”Africa Remix” exhibition in Paris -

So near, and yet so far: Africa is an enigma that continues to exert a strange fascination for many. “Africa Remix” was an invitation to reflect on what Africa really means – to explore and rediscover it by straying from the beaten path of commonplace ideas and platitudes. As Total has a strong presence in Africa, we are all too aware of the difficulties affecting the continent, but we’re also committed to bringing African culture the recognition it deserves.

Africa Remix

Under the artistic direction of Simon Njami (photo), an international team of curators (see dates and facts as well as the photo) has assembled this overview of the artistic production in Africa and the African diaspora. 88 artists show works from the last 10 years, among them several specially
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African art

African art constitutes one of the most diverse legacies on earth. Though many casual observers tend to generalize "traditional" African art, the continent is full of peoples, societies, and civilizations, each with a unique visual special culture. The definition also includes the art of the African Diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the visual culture from the continent of Africa.

    * Emphasis on the human figure: The human figure has always been a the primary subject matter for most African art, and this emphasis even influenced certain European traditions. For example in the fifteenth century Portugal traded with the Sapi culture near the Ivory Coast in West Africa, who created elaborate ivory saltcellars that were hybrids of African and European designs, most notably in the addition of the human figure (the human figure typically did not appear in Portuguese saltcellars). The human figure may symbolize the living or the dead, may reference chiefs, dancers, or various trades such as drummers or hunters, or even may be an anthropomorphic representation of a god or have other votive function. Another common theme is the inter-morphosis of human and animal.

Yoruba bronze head sculpture, Ife, Nigeria c. 12th century A.D.

    * Visual abstraction: African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms. Ancient Egyptian art, also usually thought of as naturalistically depictive, makes use of highly abstracted and regimented visual canons, especially in painting, as well as the use of different colors to represent the qualities and characteristics of an individual being depicted.

    * Emphasis on sculpture: African artists
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Art contemporain africain


L’Art contemporain africain est très dynamique. Il s'inspire aussi bien des traditions du continent que, et c'est de plus en plus le cas, des réalités urbaines contemporaines d'une Afrique en mutation, qui se cherche encore une identité. Les techniques et les supports sont variés, allant de la simple peinture aux installations avec projection vidéo, en passant par des sculptures faites en matériaux de récupération...
En 1989, l'exposition « Les magiciens de la terre » (Centre Pompidou, 1989) présentait des œuvres d'art africain contemporain (d'artistes vivants) pour la première fois en Europe, mode de monstration mettant en valeur un certain primitiviste et exotique. En 2005, l’exposition « Africa Remix » qui a été présentée en Allemagne, en Angleterre, en France et au Japon peut être considérée comme la première à présenter un panorama important de l'art contemporain spécifiquement africain, montrant surtout la richesse de l'art africain sub-saharien. Mais l'Afrique elle-même s'est dotée de centres d'art contemporain, de festivals ou biennales sont régulièrement organisés sur le continent pour mettre en valeur le talent des artistes d'aujourd'hui.

 Quelques artistes

Afrique du Sud

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The Age of Jazz

exhibition poster's century jazz


Garden Gallery

exhibition ticket or ticket matched

March 17 to June 28, 2009


Commissioner Daniel Soutif

Jazz, along with film and rock, one of the major artistic events of the twentieth century. This hybrid music marked the global culture of its sounds and rhythms.

The exhibition, designed by the philosopher and art critic Daniel Soutif, presented in chronological relations between jazz and graphic arts throughout the twentieth century.

From painting to photography, from cinema to literature, not to mention the graphic or comic book, the exhibition shows more particularly the development of jazz in Europe and France in the 30 and 40.


e route of exposure

Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin
Life, 1 July 1926 (FG Cooper, 1926) © Collection Philippe Baudoin

The exhibition is divided into ten chronological sections connected by a "timeline", vertical window through which the exhibition will bring together works, objects and documents, scores illustrated posters, records and folders, pictures ... entrusted to evoke directly the main events in the history of jazz.

This structured timeline by year is the common thread of

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Jacques Kerchache, portraits croisés

Connaisseur à l'œil réputé infaillible, conseiller des plus grands collectionneurs, militant infatigable de la cause des arts premiers, l'homme qui a fait entrer au Louvre les œuvres des quatre cinquièmes de l'humanité est mort au Mexique en août 2001. Il s'appelait Jacques Kerchache.

À l'occasion du troisième anniversaire de l'ouverture des salles d'arts d'Afrique, d'Asie, d'Océanie et des Amériques au Louvre, le musée du quai Branly et Gallimard publient Jacques Kerchache, portraits croisés. Conçu à partir d'une série d'entretiens avec ses proches, ses amis, les créateurs, les personnalités qu'il a côtoyées (Jean-Jacques Aillagon, Jacques Friedmann, Anne Kerchache, Alain Kirili, Jean-Pierre Lang, Jean de Loisy, Stéphane Martin, Alain de Monbrison, Jean Nouvel, Orlan, Jean-Charles Pigeau, Jean-François Prat, Michel Propper, Paul Rebeyrolle, Sam Szafran, Germain Viatte), cet ouvrage n'est ni une biographie exhaustive ni un essai critique, mais plutôt une invitation à la découverte. Un acte de mémoire, autant qu'un témoignage de respect.
Les témoignages réunis sont, en quelque sorte, la tradition orale de Jacques Kerchache transmise par ceux qui l'ont connu. Une tradition faites de voyages au bout du monde, de cabinets de curiosités, de nuits passées à contempler des œuvres d'art, à les comparer, à les distinguer, à les rapprocher, faite aussi d'expositions, accrochées dans l'urgence et la passion, d'albums et de catalogues feuilletées dans la fièvre, de pièces traquées pendant des années. Faite

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sculptures. Afrique, Asie, Océanie, Amériques

coédition musée du quai Branly et réunion des musées nationaux prix : 51,83 €référence : EK193771

Ouvrage collectif sous la direction de Jacques Kerchache, préfacé par le Président de la République. L'introduction est signée Jacques Kerchache. 

Quatre essais situent ces œuvres dans leur contexte historique et culturel.
Une cinquantaine d'auteurs, spécialistes, historiens, conservateurs, universitaires, chercheurs du monde entier se sont partagé l'analyse des cent treize chefs-d'œuvre présentés au musée du Louvre.

 

sommaire du catalogue

  • au regard des œuvres par Jacques Kerchache, conseiller scientifique au musée du quai Branly
  • les classiques de la sculpture africaine au Palais du Louvre par Jean-Louis Paudrat, maître de conférence à l'université de Paris I.
  • objets du Pacifique dans les collections publiques françaises par Sylviane Jacquemin
  • les objets nord-amérindiens dans les collections françaises par Marie Mauzé, docteur en anthropologie à l'Ecole des hautes études en sciences sociales
  • objets des Amériques, reflets du Nouveau monde par Pascal Mongne, historien d'art

23 x 30 cm ; 472 pages ; 300

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At a glance the Other


History of European eyes on Africa, America and Oceania

At a glance, and one devoted to successive visions brought by Europeans on the cultures of Africa, the Americas and Oceania. This program is a pretext to put into perspective by thematic series, the relativity of our eyes on the threshold of a new museum. Rather than return to the past, this catalog (and exhibition which is the source) marks a starting point.

From the Renaissance to today, the "idols of the Indians", "instruments of the natives," "primitive fetishes," "Negro Sculpture" or "first arts" were the witnesses of likes and dislikes, revealing reflections on otherness. The originality of this publication reflects historical depth that allows to include these objects in a broader history of art.

The Musée du Quai Branly appealed not only to works of other cultures, reflecting the first contacts with Europe, but also to European works within the midst of which they were placed. The catalog shows as well, in a strange series of chapters, how European eyes have gradually allowed other creations from, for example, curiosity amazed rankings systematic evolutionary wanderings of the images of the Universal.

Throughout the pages, the reader travels with the Nave of Charles V., Écouen treasure museum, portraits of Indians of Brazil painted in 1637 for the palace of the Prince of Nassau, rhinoceros horn cups Habsburg Pre-Columbian

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Listed injured


Repair in Africa

Repair, mend, strengthen, seal ... Listed blessésaborde unexplored subject of compensation by local indigenous people. This publication opens a new perspective on African objects, and features 120 "objects wounded" among the 500 selected objects repaired Musée du Quai Branly. The catalog offers many points of view because every culture that gives the repair of objects, rituals or customary, a different form and meaning.

But he also wondered about the poetic nature of the restoration. In this supplement almost mystical power of life and that the gesture of the man gives the object, it seems permanently removed from the ephemeral. In addition, repair is a mark of authenticity, if indeed we do not seek to falsify it.

The first section defines the meaning of the word "reparation" in French as well as in a number of African languages. Are then highlighted the differences between repair and restoration. Finally ethnological thinking is the act of reparation in the complex life of the object.

The second part explores the meaning of compensation for the three main religions in the continent: animism, Islam and Christianity.

The third part raises a more analytical, the question of compensation for three different cultures: Maghreb, Dogon, Gabon.

The final text shows the importance of the concepts of tear and repair in contemporary Western art.
Description

96 pages

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Ideqqi


Art of Berber women

The catalog produced for the exhibition Ideqqi, art of Berber women, is the first paper on the art of pottery Berber in Algeria, specifically female. It is based on the collections of the Musée du Quai Branly, particularly rich.

After an introduction by Marie-France Vivier, curator, Ernest Hamel provides a historical overview of Kabyle pottery, while Claude Presset through iconography selected, moved the manufacturing steps, from mixing to baking.
Dalila Marsly texts have different functions exhibits, including through their household.
The final text by Marie-France Vivier allows the reader to understand the symbolism of the sets, by drawing some comparisons with, for example, tattoos of Kabyle women photographed there are more than forty years by Marc Garanger.


Description

    
* 96 pages format 20 x 26 cm
    
* 62 color plates and 97 vignettes (catalog raisonné)
    
* 3 maps

Retail price: 25 €

isbn 2-915133-59-2 / 978-88-7439-381-7

Co-published Branly / 5 Continents
curator

Marie-France Vivier, honorary curator, collections manager of Northern Africa at the Musée du Quai Branly. She is the author of A Passion for African Art (Joel Cuenot, 2005), Algeria, women's memory

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