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Journal articles on the topic 'Musée du quai Branly – Jacques Chirac'

Author: Grafiati

Published: 22 February 2023

Last updated: 27 July 2024

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1

Derder, Peggy. "La pédagogie au Musée du quai Branly - Jacques Chirac." Hommes & migrations, no. 1334 (July 1, 2021): 109–13. http://dx.doi.org/10.4000/hommesmigrations.12975.

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2

Battaglia, Giulia. "What else to say about the MQB? Re-centring anthropology in art and French museum practices: A vision from an <em>ex-boursier</em>." Anuac 7, no. 1 (2018): 169–82. http://dx.doi.org/10.7340/anuac2239-625x-3398.

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This short piece investigates how “art” and “ethnography” have developed as two separated practices in ten years of existence of the Musée du quai Branly Jacques Chirac (MQB) and how “politics” has been widely missing. Writing from a personal experience as a postdoctoral ex-boursier and building on recent essays about the genesis of the museum, the author seeks to identify points of raptures existent not only in the MQB as a cultural institution but also within the system of French ethnology, which does not leave sufficient space for art to dialogue with ethnography, nor for politics to dialogue with aesthetics. Rather than depicting the MQB as a “post-ethnographic museum” (de l’Estoile 2015), the author identifies in the Musée a good terrain for creating an “ethno-art-graphic” museum, where creative ethnographic collections will eventually make both art and anthropology.

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3

Obszyński, Michał. "Autour des congrès des écrivains et artistes noirs et des festivals panafricains – entretien avec Sarah Frioux-Salgas." Cahiers ERTA, no. 35 (September 30, 2023): 125–48. http://dx.doi.org/10.4467/23538953ce.23.027.18477.

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Black Writers’ and Artists’ Congresses and Pan-African Festivals - values and issues of intellectual debates and artistic events from the 1950s to today - interview with Sarah Frioux-Salgas Focusing on the major intellectual debates surrounding the Black and African Renaissance, the interview with Sarah Frioux-Salgas, head of archives and collections’ resources at the Musée du quai Branly-Jacques Chirac media library, covers topics such as the role of Black writers’ and artists’ congresses and art festivals in the cultural reaffirmation of Black people during the decolonization era of the 1950s-60s, the place of literature in the shaping of Black pan-African and transcontinental solidarity, the figure of the Black intellectual, particularly that of Léopold Sédar Senghor, and the networks of ideological affinities and antagonisms formed by Black writers, artists and activists. The interview aims to highlight the complexity of the socio-political and aesthetic issues at stake, all too often summed up in simplified definitions of projects such as negritude or Pan-Africanism.

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4

Núñez-Regueiro, Paz, Christophe Moulherat, and Maria Filomena Guerra. "Las estatuillas incas del musée du quai Branly - Jacques Chirac: variedad tipológica y cronología de las producciones." Bulletin de l’Institut français d’études andines, no. 46 (1) (April 1, 2017): 193–219. http://dx.doi.org/10.4000/bifea.8198.

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5

Person, Alain. "Du Jourdain au Congo. Art et christianisme en Afrique centrale : exposition au musée du quai Branly-Jacques Chirac." Afrique : Archeologie et Arts, no. 12 (December 15, 2016): 101–3. http://dx.doi.org/10.4000/aaa.961.

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6

Leclerc-Caffarel, Stéphanie, and Frédérique Servain-Riviale. "Un contenant en algue de Tasmanie de l’expédition d’Entrecasteaux (1791-94) identifié au musée du quai Branly – Jacques Chirac." Journal de la société des océanistes, no. 152 (June 30, 2021): 155–68. http://dx.doi.org/10.4000/jso.12633.

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7

Bosc-Tiessé, Claire. "La part de l’ombre, sculptures du sud-ouest du Congo : exposition au musée du quai Branly-Jacques Chirac, Paris." Afrique : Archeologie et Arts, no. 18 (November 10, 2022): 107–9. http://dx.doi.org/10.4000/aaa.3942.

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8

Byram, Jennifer, and Megan A. Baker. "Museums and Renewed Relations: Choctaw-French Nations of the Eighteenth Century and Present." Collections: A Journal for Museum and Archives Professionals 18, no. 1 (2022): 59–68. http://dx.doi.org/10.1177/15501906211073096.

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In a recent exhibit, the Choctaw Nation of Oklahoma, Musée du quai Branly-Jacques Chirac, and Bibliothèque Municipale de Versailles worked together to learn more about the museum’s royal Americas collection which features items from numerous Indigenous communities. Collected by French explorers during the eighteenth century and later displayed in royal curiosity cabinets, these items have not been seen by Choctaw communities since they left the continent. This collaboration has culminated in the “La Curiosité d’un Prince” exhibit, which features a room curated by Choctaw Nation. This article shows how a joint initiative to study the collection gave voice to the relationships and material histories inherent in the items. Reflecting on this less-known historical period, this collaboration has reinvigorated Choctaw-French relations and allowed Choctaw Nation to showcase the richness and complexity of its sovereignty—which is often narrowly understood through its relationship with the United States. By providing an example of true collaboration that has spurred new research and writing on both the cultural and political knowledge contained in the objects held in France, we demonstrate the potential for relationships and knowledge inherent in museum collections to act as a platform for new expressions of Indigenous sovereignty.

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9

Sun, Zhihao. "The Evolution of Chinese View of Death: Focusing on the Zhizha Art Exhibition at Musée Du Quai Branly - Jacques Chirac." Art and Design 5, no. 2 (2022): 83. http://dx.doi.org/10.31058/j.ad.2022.52012.

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10

Renard, Lisa. "Deux manteaux māori à bordures géométriques (kaitaka) de Nouvelle-Zélande Aotearoa du xixe siècle au musée du Quai Branly – Jacques Chirac." Journal de la société des océanistes, no. 152 (June 30, 2021): 137–54. http://dx.doi.org/10.4000/jso.12683.

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11

Drabarczyk vel Grabarczyk, Paweł. "Todos somos mestizos. Reseña del catálogo de la exposición Planète Métisse en el Musée du quai Branly-Jacques Chirac de París (marzo de 2008–julio de 2009), editado por Serge Gruzinski [Serge Gruzinski, Planète Métisse, Paris: Musée quai Branly, 2009, 180." Sztuka Ameryki Łacińskiej 11, no. 1 (2021): 153–71. http://dx.doi.org/10.15804/sal202106.

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12

de Formanoir, Maxime. "Les forěts natales: Arts d'Afrique équatoriale atlantique curated by Yves Le Fur Musée du quai Branly–Jacques Chirac, Paris October 3, 2017–January 21, 2018." African Arts 52, no. 3 (2019): 80–82. http://dx.doi.org/10.1162/afar_r_00486.

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13

Halen, Pierre. "Du Jourdain au Congo : art et christianisme en Afrique centrale. Exposition, Paris, Musée du quai Branly – Jacques Chirac, du 22 novembre 2016 au 2 avril 2017. [Divers auteurs]. Paris : Flammarion, 2016, 192 p., 20x26 cm – ISBN 978-2-08-136632-9." Études littéraires africaines, no. 42 (2016): 246. http://dx.doi.org/10.7202/1039451ar.

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14

Charlier, P., E. Kissel, C. Moulherat, et al. "First in-situ use of a mobile CT-scan for museum artefacts: The quai Branly – Jacques Chirac museum experience." Forensic Imaging 20 (March 2020): 200365. http://dx.doi.org/10.1016/j.fri.2020.200365.

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15

Soares, Bruno César Brulon. "O gosto pela autoridade e a autoridade do gosto: as apropriações culturais nas ‘artes primeiras’." Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas 10, no. 1 (2015): 169–86. http://dx.doi.org/10.1590/1981-81222015000100009.

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Os atores responsáveis por introduzir as ‘artes primeiras’ nos museus e no mercado do Ocidente não são, com efeito, os mesmos que as produziram e, com frequência, não falam em nome dos interesses de seus produtores. Na presente análise, investigou-se a primeira exposição do Musée du Quai Branly, inaugurada no ano 2000, em uma ala do Musée du Louvre, em Paris. Na apresentação desses objetos nesse novo contexto, Jacques Kerchache, o principal idealizador do projeto, não deu espaço para visões dissonantes sobre as obras selecionadas. São visíveis, na exposição do Louvre, algumas das mais evidentes contradições sobre as ‘artes primeiras’. Os critérios que presidem a musealização das esculturas primitivas expostas mostraram a impossibilidade de se isolar, no seio dessa estética particular, a conotação antropológica. O artigo aqui proposto não tem como objetivo discutir a inspiração dos primeiros criadores desses objetos no momento em que conceberam e realizaram a sua obra, mas busca questionar se as suas intenções podem ser descartadas impunemente em função da musealização desses objetos no contexto europeu, entendendo como se dá esse processo segundo uma perspectiva sociológica.

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16

Demossier, Marion. "Sally Price, Paris Primitive: Jacques Chirac';s Museum on the Quai Branly, Chicago University Press, 2007, 224 pp., $22.50, ISBN: 9780226680705." Modern & Contemporary France 22, no. 2 (2013): 268–69. http://dx.doi.org/10.1080/09639489.2013.861406.

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17

Monroe, John Warne. "Paris Primitive: Jacques Chirac’s Museum on the Quai Branly. By Sally Price.Chicago: University of Chicago Press, 2007. Pp. x+239. $50.00 (cloth); $22.50 (paper).Au musée des illusions: Le rendez-vous manqué du quai Branly. By Sally Price. Translated by Nelcya Delanoë. Médiations.Paris: Éditions Denoël, 2011. Pp. 368. €24.85." Journal of Modern History 86, no. 1 (2014): 193–96. http://dx.doi.org/10.1086/674275.

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18

Joachim, Joana. "From Africa to the Americas: Face to Face, Picasso Past and Present, Organized by the Musée de quai Branly–Jacques Chirac, in collaboration with the Musée national Picasso-Paris, and adapted by the Montreal Museum of Fine Arts, Curator for the Montreal adaptation: Nathalie Bondil, Director General and Chief Curator of the Montreal Museum of Fine Arts; assisted by Erell Hubert, Curator of Pre-Columbian Art, MMFA Here We Are Here: Black Canadian Contemporary Art, Organized by the Royal Ontario Museum and adapted by the Montreal Museum of Fine Arts, Montreal, May 12, 2018 to September 16, 2018, Curators: Sylvia Forni, Julie Crooks, and Dominique Fontaine; assisted by Geneviève Goyer-Ouimette, Gail and Stephen A. Jarislowsky, Curator of Quebec and Canadian Contemporary Art (from 1945 to Today), MMFA." RACAR : Revue d'art canadienne 43, no. 2 (2018): 137. http://dx.doi.org/10.7202/1054393ar.

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19

Godelier, Maurice, and Anne-Christine Taylor. "La recherche au musée du quai Branly-Jacques Chirac." Les actes de colloques du musée du quai Branly, no. 8 (June 12, 2017). http://dx.doi.org/10.4000/actesbranly.758.

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20

Frioux-Salgas, Sarah. "Regard sur un don exceptionnel à la Médiathèque du musée du quai Branly-Jacques-Chirac." Revue d'histoire contemporaine de l'Afrique, January 7, 2021. http://dx.doi.org/10.51185/journals/rhca.2021.e288.

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Sarah Frioux-Salgas, responsable des archives au musée du Quai Branly-Jacques Chirac, inaugure la rubrique Sources, terrains et contextes de la RHCA en présentant l’histoire et la teneur du don réalisé juste avant sa mort en 2018 par Michel de Breteuil à la médiathèque et aux archives du musée. Michel de Breteuil, fils du magnat de la presse coloniale Charles de Breteuil, fut ancien directeur de la revue Bingo et fondateur du magazine Amina. Il a ainsi rendu accessible les collections complètes de dix revues ouest-africaines parues au cours du 20ème siècle et d’environ 20 000 photographies et négatifs qui en constituait la base iconographique. Si les premières sont déjà consultables à la médiathèque du musée, les secondes font en ce moment l’objet d’un immense chantier de reconditionnement et d’inventaire avant leur mise à disposition des chercheurs.

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21

"Jacques Chirac and his Influence on French Cultural Policy." Общество: философия, история, культура, no. 3 (March 20, 2024): 97–102. http://dx.doi.org/10.24158/fik.2024.3.11.

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The article treats the influence of Jacques Chirac, President of the Fifth Republic, on the French cultural policy during his first and second presidencies. It also analyses the president’s cultural preferences and their reflec-tion in the country’s cultural policy. The main attention is paid to the largest projects for the creation of new cul-tural institutions (The Musée du Quai Branly, Louvre-Lens, Louvre Abu Dhabi), and Chirac’s contribution to the conception of these projects as well as their implementation. The issues of the development of Chirac’s ideas about cultural equality and the so-called “primitive” art and their formation from the time of his leadership as the mayor of Paris to his second presidential term are touched upon. The article analyzes the testimonies of the president’s associates that speak about Chirac’s role in shaping the cultural and political course of his era.

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22

Rostain, Stéphen, Cristiana Barreto, Caroline Hamon, Magdalena Ruiz-Marmolejo, and André Delpuech. "The Amazonian statue. A biography of a famous and polemic artifact from Brazil." Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas 16, no. 2 (2021). http://dx.doi.org/10.1590/2178-2547-bgoeldi-2020-0038.

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Abstract A large stone statue was brought from the Amazon to France in 1848 by the explorer Francis de Castelnau. It depicts a being, apparently human, squatting, with his hands on his chest. Now exhibited at the Musée du Quai Branly – Jacques Chirac, this piece created a strong controversy since it was made public. In the mid-19th century, several Brazilian intellectuals strongly criticized the arrogant attitude of the Frenchman who had ‘looted’ their heritage. In reality, the reasons for this conflict are much deeper since they affect the very identity of the nation, then in formation. In any case, even a play was written to mock the explorer. This gave rise to doubts about the authenticity of the object, which has persisted to this day. The authors therefore studied the artifact to determine its cultural origin, while analyzing existing references to compare it with other pieces from the Amazon. They were thus able to validate the statue’s Amerindian identity, nearly 170 years after its discovery.

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23

Mraz, John. "More than Vestiges Photographic Archives of Ancient Mexico." Glocalism, no. 2 (July 31, 2021). http://dx.doi.org/10.12893/gjcpi.2021.2.2.

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This article explores the importance of photographic archives (fototecas) in preserving the sources with which to create a national visual history and identity. It charts the arc from imperial photography of Mexico, lodged in European and U.S. archives, to the development of Mexican institutions dedicated to the preservation of the photographic patrimony. Particular attention is paid to the photography of indigenous peoples by foreigners and Mexicans, and the location of the archives in which that imagery is held. Some of the archives mentioned are found in Mexico: Archivo General de la Nación, the Fototeca Nacional-Instituto Nacional de Antropología e Historia (INAH), the Museo Nacional, and the Instituto Nacional de los Pueblos Indígenas (INPI). Others are located elsewhere: the Smithsonian Institute, the Getty Museum, the Musée du Quai Branly-Jacques Chirac, American Museum of Natural History, and the Museum of Cultural History in Oslo. Among the photographers mentioned are: Desiré Charnay, León Diguet, Teoberto Maler, Frederick Starr, Carl Lumholtz, Julio de la Fuente, and Nacho López.

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24

Leclerc-Caffarel, Stéphanie, Gaye Sculthorpe, Zoe Rimmer, and Céline Daher. "rikawa: Tasmanian Aboriginal Kelp Water Containers." Technology as a Resource: Material Culture and Processes in the Pre-Modern World, 2024, 167–95. http://dx.doi.org/10.4000/11wun.

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Abstract: Water containers made of kelp from lutruwita (Tasmania) are one of the rarest object types found in ethnographic museum collections. Only two, well-documented, historic examples still exist. The British Museum holds one given to it in 1851, after the Great Exhibition of London. An older example, which formed part of the collections of a French naturalist engaged on the d’Entrecasteaux expedition in southern lutruwita in the early 1790s, was located at the musée du quai Branly – Jacques Chirac in 2019, after it had been mislabelled and was thought to be lost for several decades. The technical and cultural information that these two containers evidence is invaluable to Aboriginal people (palawa) in lutruwita today. This paper discusses and reflects on the on-going collaborative research, which involves the Tasmanian Aboriginal community as well as museum scientific staff and curators, in an effort to better understand these rare objects and the once lost techniques they exemplify.

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25

de Pierrebourg, Fabienne. "Experiencias colaborativas y nuevos debates en las colecciones nacionales francesas (Musée du Quai Branly – Jacques Chirac, Paris)." Cultures-Kairós, 2024, 116–36. http://dx.doi.org/10.56698/cultureskairos.2158.

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26

Harnay, Melaine. "« Black Indians » de La Nouvelle-Orléans, 4 octobre 2022-15 janvier 2023, Musée du quai Branly-Jacques Chirac, Paris." Transatlantica, no. 1 (May 10, 2023). http://dx.doi.org/10.4000/transatlantica.20914.

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