Musee-du-quai-branly

© Cyril Zannettacci/Musée du Quai Branly. Artwork by Aboriginal artist Lena Nyadbi on the roof of the Musée du Quai Branly in Paris. 

An artwork by an Aborignal artist Lena Nyadbi has been painted across the roof terrace of a museum in Paris, designed to be viewed from the Eiffel Tower. The Musée du quai Branly, a fairly new gallery dedicated to indigenous and ancient cultural artworks, took a very deliberate approach to the incorporation of Australian Aboriginal art into their gallery. In a stroke of genius, they created a work that can not even be viewed from within the gallery. It is truly unique, an artwork inspired by the landscape of outback Australia is now embedded into the urban fabric of Paris. Looking forward to seeing more pictures!

Exposition Les Maîtres de la Sculpture de Côte d’Ivoire jusqu’au 25 juillet au musée du Quai Branly

L’Afrique de l’Ouest a ses maîtres. Mésestimé durant plusieurs décennies, l’art des Sénoufo, des Lobi, des Gouro ou encore des Dan retrouve ses lettres de noblesse, à travers une exposition témoignant du savoir-faire artistique et personnel de ses créateurs.

Longtemps considérées en Occident comme de simples pièces d’artisanat, les sculptures sur bois produites en Afrique de l’Ouest – et principalement en Côte d’Ivoire – déploient leurs qualités techniques et leur force esthétique au sein d’un parcours retraçant les styles majeurs de la région.

L’exposition met à l’honneur les grands artistes sculpteurs, connus ou inconnus, et les écoles de sculpture de Côte d’Ivoire et de ses pays limitrophes.

L’exposition défend la position selon laquelle l’art africain – à l’instar de l’art occidental – est le fait d’artistes individuels. Partir de la présentation des ateliers des maîtres sculpteurs de la fin du XIXe et du début du XXe siècle, c’est affirmer leur identité profondément artistique. C’est aussi introduire le contexte géographique, religieux et social dans lequel quelques-unes des œuvres majeures furent créées et, par la même occasion, initier l’œil occidental à la beauté et aux codes esthétiques de la région. Les œuvres et installations contemporaines présentées en conclusion de l’exposition confirment la force de cet héritage.

Infos: Jusqu’au samedi 25 juillet 2015.
Tous les jours sauf dimanche de 11h00 à 19h00.

Tarifs: Plein 9 € / Réduit 7 €

MUSÉE DU QUAI BRANLY / GALERIE JARDIN
37 Quai Branly
75007 Paris  

working titles for this thesis
  • Racist Shitshow or Anesthetizing Snoozefest? The MQB/NMAI Debate
  • Are You Shitting Me: The True Story of How We’re Really Going to Respect the Consciousness of Rocks in the Same Place we Gloss Over a History of Imperial Brutalities against PEOPLE, Among Other Things
  • I Am An Atheist and Museums are Stupid
  • But… The Architecture! 
  • A Case Study: That One Museum with the Abrasive Sense of French Cultural Superiority and That Other One, You Know, with the Great Cafe


BY ALESSANDRA AGE 22 

Le musee du quai Branly was free last weekend for it’s 5 year anniversary, so we went to check it out. I’m not hugely interested in archaeological museums, but I did want to see Jean Nouvel’s architecture. And if you like archaeological artefacts, like African and Asian art, it’s very well done, with wonderful exhibition spaces and displays.

I really liked The River installation, a river of words flowing along the ramp leading to the permanent collection.

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After touring around the museum, we listened to some great jazz music in the garden’s amphitheatre.

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And finally a look at the museum’s very cool living wall:

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Présence africaine @ Musée du quai branly | Paris, 2009

“In organizing the two congresses, Présence Africaine offered a forum to intellectuals and to writers of the black diaspora. By initiating and participating actively in the organization of the First World Festival of Negro Arts (Dakar, 1966), Présence Africaine continued its work to highlight the wealth and the diversity of artistic practices of Africans but also of the diaspora.

This festival is the first large cultural event organized in Africa by a young independent African state. This event was also a strong political stake for Léopold Lédar Senghor, president of the young republic of Senegal.

Three large groups are distinguished in this section :

  • Organization in Dakar of the First World Festival of Negro Arts (April, 1966)
  • The multiple events during the festival
  • Exhibition on  “negro art”: from Dakar (April, 1966) to Paris (Grand Palais, June, 1966)

In this section, in addition to the posters and programs of the period, are presented a part of the objects exhibited in Dakar during the 1966 exhibition. A video installation additionally provides a sense of the wealth of the living arts during the festival.”

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