The British Museum’s exhibition, “Power and Taboo”, showcases sacred objects from the Polynesian Islands, including extraordinary artifacts brought back by Captain Cook, the first European to encounter these islands. Among these treasures is a wooden bowl supported by two figures with large, round eyes. This artifact is likely the one Cook described in his journal with his characteristic cool approval: “A large cava bowl … neither ill designed nor executed.”
This paragraph introduces the topic of the British Museum’s exhibition and provides a specific example of an artifact that is a part of it. It also mentions Captain Cook’s impression of the art he saw in the Pacific.
The Irony of Colonialism and Art
Ever since Europeans began exploring and ultimately conquering distant lands in the 15th century, they have been captivated by the carved, painted, woven, and embroidered objects brought back by travelers. This fascination, however, comes with a tragic irony. The very contact with Europeans that devastated numerous cultures through violence, disease, and the forceful imposition of Christian beliefs, also resulted in the creation of collections of premodern non-western art. These collections now serve as invaluable resources for appreciating and understanding these cultures.
This paragraph explores the complex relationship between European colonialism and the collection of non-western art. It highlights the devastating consequences of colonialism while also acknowledging the value of the resulting collections.
The Controversy Surrounding the Musée du Quai Branly
This complex history has sparked countless debates, as the British Museum itself can attest. Recently, the creation of the Musée du Quai Branly in Paris, a new museum dedicated to the arts and civilizations of Africa, Asia, Oceania, and the Americas, has ignited fierce controversy. The museum’s purpose, as envisioned by former French President Jacques Chirac, was to house France’s national collection of ethnographic art. However, critics have accused the museum of being insensitive, even racist, in its approach, arguing that it reinforces outdated colonial prejudices. They have particularly criticized the museum’s use of the term “arts premiers,” which they believe perpetuates the notion of “primitive art.”
This paragraph introduces the Musée du Quai Branly and the controversy surrounding its creation. It highlights the accusations of colonial bias and the debate over the term “arts premiers.”
A Museum That Defies Expectations
Despite the criticism, the Musée du Quai Branly has opened its doors to the public, offering an exhibition titled “D’un Regard l’Autre,” which directly addresses the critics’ concerns about the western gaze. While some might expect this exhibition to be a defensive response, it turns out to be a truly captivating experience. The museum itself is a remarkable structure, designed by Jean Nouvel, a Parisian architect known for his innovative, organic buildings.
This paragraph highlights the Musée du Quai Branly’s response to its critics and provides a brief description of the museum’s architecture.
A Journey Through Global Art
Upon entering the museum, visitors are greeted by a circular ramp that leads them around a tower filled with drums. This ramp culminates in a vast, open space that invites visitors to explore various world cultures. From Oceania to Africa to the Americas, the museum’s displays seamlessly connect these different worlds. Alcoves filled with treasures offer moments of quiet reflection. Ethiopian wall paintings are presented in a serene chapel-like space, while another alcove showcases literary fragments from Timbuktu. While some may criticize the museum’s selection of works, arguing that it is too limited in scope, the sheer beauty and diversity of the collection is undeniable.
This paragraph describes the museum’s layout and highlights the diversity of its collection.
A Bold Approach to Displaying Global Art
The Musée du Quai Branly distinguishes itself from other museums by its bold approach to displaying global art. Unlike museums that focus on explaining the social and cultural context of objects, the Musée du Quai Branly simply presents them as “masterpieces” of art. The museum’s dramatic and spectacular displays, intimate close-ups, and poetic juxtapositions create a captivating experience for visitors. This approach is designed to excite people about the art and inspire them to learn more.
This paragraph contrasts the Musée du Quai Branly’s approach to displaying art with that of other museums. It highlights the museum’s focus on aesthetic appeal and its goal of promoting a deeper appreciation for global art.
A Museum Inspired by Lévi-Strauss
The Musée du Quai Branly is far from being intellectually naive. It is, in fact, inspired by the work of Claude Lévi-Strauss, the renowned anthropologist who founded structuralism. Lévi-Strauss’s theories on the universal structure of human thought are reflected in the museum’s approach to displaying art, particularly in the way it invites comparisons between different cultures. The museum’s focus on the mystery of art is also deeply rooted in Lévi-Strauss’s work, particularly his essay “Split Representation in the Art of Asia and America” where he explores the formal similarities between art from different times and places.
This paragraph addresses the criticism that the Musée du Quai Branly lacks intellectual depth, arguing that it is, in fact, inspired by the work of Claude Lévi-Strauss.
From Parisian Avant-Garde to Modern Art
The exhibition “D’un Regard l’Autre” offers a fascinating glimpse into the Parisian avant-garde’s fascination with “the primitive.” The exhibition features a Fang mask, owned by the artist André Derain, which he showed to Matisse and Picasso, sparking their own interest in African art. The mask’s almond shape bears a striking resemblance to the masked women in Picasso’s “Les Demoiselles d’Avignon.” The exhibition also includes a New Hebridean figure that Matisse gave to Picasso.
This paragraph explores the exhibition “D’un Regard l’Autre” and its focus on the historical connection between European art and non-western art.
A Return to the Spirit of Amazement
The exhibition takes us even further back in time, showcasing how Europeans collected artifacts from Africa and the Americas during the Renaissance. These cabinets of curiosities, early precursors to modern museums, were filled with exotic objects that ignited wonder and amazement. The Musée du Quai Branly can be seen as a return to this spirit of awe and wonder, inviting visitors to experience the beauty and mystery of global art.
This paragraph traces the historical development of museums and highlights the Musée du Quai Branly’s connection to the spirit of early collections.
The British Museum Versus the Musée du Quai Branly
Back in London, at the British Museum, we see “A’a,” a wooden image of the creator from the island of Rurutu. A photograph nearby shows Picasso standing next to his bronze cast of this work, which is part of the British Museum’s collection. However, the British Museum’s cautious and introspective approach to displaying global art pales in comparison to the Musée du Quai Branly’s vibrant and exhilarating spectacle. The British Museum is more concerned with providing context and explanation, while the Musée du Quai Branly is more focused on creating an emotional and visceral experience.
This paragraph compares the British Museum’s approach to displaying global art with that of the Musée du Quai Branly, highlighting the contrasting styles of the two institutions.
A Triumph of Artistic Expression
The Musée du Quai Branly is a triumph of artistic expression. It is a testament to the power of art to transcend cultural boundaries and inspire wonder and awe. The museum’s bold and unconventional approach to displaying global art is a refreshing departure from traditional museum practices, and it is sure to spark debate and inspire new perspectives on the role of art in our world.
This paragraph concludes the article by praising the Musée du Quai Branly and its impact on the world of museums.
