It was only two seconds, and it is in a sci-fi movie, so there’s a big chance you missed it, but I found it very cool to see the international pop star Rihanna dance wearing a chiwara headdress from Mali in the movie Valerian and the City of a Thousand Planets, written and directed by Luc Besson (2017).
Situated in the 28th century, Rihanna stars as Bubble, a shapeshifting Glamopod entertainer. Valerian, the main protagonist, needs her help rescuing his love interest Cara Delevingne from the Boulan Bathors. He meets her in a cabaret in Paradise Alley, the red-light district of Alpha, a space-traveling city inhabited by millions of species from thousands of planets. Valerian is treated to a performance by the enslaved shapeshifting alien by Jolly the Pimp. Got to love sci-fi!
What follows is a stunningly CG-assisted dance sequence in which Rihanna changes outfits about 25 times! One of the identities Bubble takes on is a bikini-clad amazone-like dancer wearing a chiwara headdress! Below is a behind the scenes look of this moment in the movie (which happens to have been the most expensive film ever made in France!)..
Kuddos to costume designer Olivier Bériot for incorporating a bit of African art in this futuristic space epic. In traditional Bamana society, women obviously wouldn’t be dancing with this headdress, and those feathers rather originate from Brazilian carnival than Africa 🙂
A show I hate to miss due to current travel ban is “Between the Earth and Sky” as Kasmin Gallery, running until February 27th, 2021 at their New York City gallery. Luckily the online presentation of the exhibition is on point and can be explored here. This cool show brings together 22 “monolithic” sculptures from across times and cultures. The core is formed by contemporary artists such as Udo Rondinone and Bosco Sodi, with additional works by modern masters such as Ernst and Noguchi, but what interest us more is the fitting presence of a “selection of premodern sculptures”, “that embrace the connection between the physical and spiritual worlds”. Personally, I remain unconvinced if the term “premodern” is a proper nomenclature, but that’s another discussion – most of these cultures in their sustainable way of living within their environment were much more modern than us!
From Africa, we find a classic funerary post from Madagascar and a nice Kota from Gabon, while Oceania is represented by a couple of aripa hook figures from Papua New Guinea and an Abelam ancestor figure. Concerning the installation we read:
Guided by the architectural logic of the space, Between the Earth and Sky consists of an immersive installation of a field of vertical sculptures, highlighting both the universality and the diversity of the form in contemporary, modern, and premodern works of art. The poured concrete ceiling of the gallery is divided by 20 frustum-shaped skylights, forming a grid of 10 x 10 ft squares on the polished concrete floor below. Each square hosts one sculpture that draws a line of sight from the ground up toward the sky, creating connections between the object and the viewer, heaven and earth, and the cardinal directions.
Through the above link it is possible to make a virtual visit of the show. Personally, I think the juxtaposition works very well and the selection is neat. For the “premodern” selection Kasmin Gallery collaborated with Damon Brandt, art dealer and curatorial consultant – and son of the famous gentleman-dealer Alan Brandt (1923-2002). In 2015 Jonathan Fogel wrote about the latter:
Alan had a varied career. Born in Brooklyn, early on he ran a public relations firm that worked with Harry Belafonte, Mike Wallace, and television programs such as Howdy Doody and Captain Kangaroo. He was a prolific lyricist who wrote songs that were recorded by Frank Sinatra, Judy Garland, Peggy Lee, Mel Torme, and Tony Bennett, among many others, and he had a brief onstage acting career in the late 1960s. In 1960 he began managing Henri Kamer’s gallery at 965 Madison Avenue. By the late 1960s, he began dealing with African art in his own right from his apartment at 44 West 77th Street, and became an important source for major works of African and Oceanic art in New York City. In 1998, when he was seventy-five, his first play was produced Off-Broadway.
A bit late to catch the hype about this television series, but attentive viewers surely must have spotted that the Dothraki warriors from Essos in Game of Thrones put blankets on their horses that do look very Congolese! In fact, the costume designers were clearly inspired by the famous textiles from the Shoowa peoples, who were part of the Kuba Kingdom in D.R. Congo. The endless knot (locally known as imbol) featured on the blankets is one of the most traditional Shoowa designs around. The act of knotting is a very symbolical theme in many cultures throughout the world of course, even in the fictional ones!
A public African Art collection in the US that had stayed under my radar, but does have quite some gems in it, is located at the University of Michigan Museum of Art. You can explore it here. The museum especially benefited from a large donation by Candis and Helmut Stern of mostly Congolese art in 2005. In 2014, through a $1.5 million gift, the Sterns also helped create a new curatorial position at UMMA: the Helmut and Candis Stern Associate Curator of African Art (info), now held by Laura De Becker – a fellow Belgian! De Becker is currently working on a reinstallation and doubling of the Museum’s space dedicated to African art, a project called “I Write To You About Africa” – read more about this exciting prospect here; it is scheduled to open somewhere this year.
37 years ago, in 1984, this Djenne head in terracotta from Mali was exhibited in Antwerp during the exhibition Ancient terra-cotta statuary and pottery from Djenne. It was published in the show’s catalog by Adriaan Claerhout as no. 37. This rare head with a miniature figure on top was sold not long after the exhibition, and has not been seen ever since. 13,5 cm high, it should reside somewhere in a private collection, and I was wondering if anyone recognises it or knows where it now lives? Please do get in touch if that would be the case; thanks!
[Re:]Entanglements is an exhibition to open at the Museum of Archaeology & Anthropology (MAA) in Cambridge later this year. It will be the fourth major exhibition of this project, previous ones having taken place in Benin City, Lagos and Nsukka, as well as many smaller ‘pop up’ exhibitions in towns and villages in Nigeria and Sierra Leone where the British colonial anthropologist Northcote Thomas, who’s archives are the subject of the project, worked. The above door graphic is taken from the Faces|Voices film, and articulates the curator’s hope that the exhibition will provide an opportunity to confront/interrogate/debate colonial collections and archives in our decolonial times.
Funded by the UK’s Arts & Humanities Research Council, the [Re:]Entanglements project has been re-engaging with a unique ethnographic archive – including objects, photographs, sound recordings, botanical specimens, published work and fieldnotes – assembled by the colonial anthropologist, Northcote W. Thomas, in Southern Nigeria and Sierra Leone between 1909 and 1915. As well as better understanding the historical context in which these materials were gathered, the project seeks to examine their significance in the present. What do these archives and collections mean for different communities today? What actions do they make possible? How might we creatively explore their latent possibilities? The answers to those questions can be found on the project’s website here. A beautiful and very relevant endeavour if you ask me.
The blog features interesting posts about an Igbo alusi statue collected by Thomas here, the restoration of an ikenga statue (here), and a most interesting article on sacred stone axes on Benin altars (here) – and there’s much more to discover on the blog! Below a short clip as an introduction to the wealth of the Thomas archives.
While not African, it’s too chic not to share: an old advertisement from a Parisian fashion magazine featuring an Uli statue from New Ireland. Its original caption read: “Yellow wool dress by Grès, hat Barthet, gloves and bag Hermès, photo by Philippe Pottier at the home of art dealer Hélène Leloup“. The sculpture nor painting were identified – although they surely contributed to the success of the composition. On the topic of these Uli sculptures, you might be interested to know that the French scholar Jean-Philippe Beaulieu is preparing a monograph on them – surely a publication to look forward too!
The Africa Center in New York (previously the Museum for African Art), has made the exhibition catalog for the Bamana show from 20 years ago available online for free; you can discover this reference work on the material culture of the Bamana here.
I just came across the above picture by Denise Colomb and I thought I shared it as it reminded me of the pre-covid days. Normally the coming week would have been an exciting few days in Brussels with collectors from the whole of Europe flocking to Belgium for the winter Bruneaf and the BRAFA art fair at Tour&Taxis. While both events will take place (the fair on location in participating galleries), the travel restrictions, curfew, and closed restaurants and bars will make social get-togethers as above impossible. How we miss them!
Denise Colomb was in fact the artist’s name of Denise Loeb, sister of Pierre Loeb, the famed art dealer. The above photo was taken as his gallery in Paris in 1953. From left to right we see the abstraction lyrique group members Jean-Paul Riopelle, Jacques Germain (the painter, not the dealer!), Maria Helena Vieira da Silva, Pierre Loeb himself, Georges Mathieu, and Zao Wou-Ki. Hanging on the wall we see a Sepik hook, mask and shield, next to a painting by Riopelle. The abstraction lyrique art movement in fact was born not long after the Liberation of Paris in mid-1944. At that time, the artistic life in Paris, which had been devastated by the Occupation and Collaboration, resumed with numerous artists exhibited again. I’m optimistic too, that when all current restrictions on our lives will be lifted again, we’ll finally be able to start with our roaring twenties!
In terms of provenance research of their holdings, German museums historically have always been one step ahead. The Museum Fünf Kontinente in Munich leads by example again, by making scans of the original inventory books of its ethnological collections available on their website. You can find them here (in chronological order on the left of the page). Funded by the Bavarian State Ministry for Science and Art, the museum with this projects wishes to make these important historical sources freely available to researchers who wish to study the museum’s collecting activities and acquisitions.