Masks room invites... Sarah Maldoror
Suspended in an exhibition furniture that has been deliberately inspired
by the “crystal easels” of the architect, Lina Bo Bardi, we find thirty-eight
masks from different African cultures.
complexity, it might be reductive to try to encapsulate them within a single discourse,
and this poses the problem of how we should view these objects. Knowledge about
them exists, developed by the communities that created them, which inscribe the
masks as objects of movement. They are made for dancing and should be observed
with the music and songs that accompany their appearance, in the context of a
sub-Saharan Africa, the selection of these masks in the museum does not observe
a scientific rationale, as would be appropriate for an anthropology museum. Instead
it reflects José de Guimarães’ personal and artistic criteria who, as an
artist-collector, acquired these sets of masks in the European market from the
1980s onwards. He explains that: “each artisan who has produced these masks is
an artist with whom I'm interested in forging a dialogue”.
One of the
CIAJG's missions is to investigate its own collections, in the belief that knowledge
about the respective items must be woven into a set of historical and political
relationships, and connections between knowledge without any hierarchy. In this
way, it will be possible to critically look at this legacy and diversify the
narratives of certain stories with others.
FOR ALL AGES
FOR ALL AGES