Le département de la recherche et de l’enseignement du musée du quai Branly propose un à deux colloques chaque année depuis l’ouverture. Ces colloques se rattachent à la problématique générale du département, à savoir l’anthropologie et l’histoire des arts. Le département entend désormais proposer une politique cohérente de restitution de ces informations.
Catalogue des publications
Les actes de colloques du musée du quai Branly
Collection d'ouvrages traitant d'anthropologie et d'histoire de l'art
Online book series on anthropology and art history published by the Quai Branly Museum
The research and education department at the Quai Branly Museum has produced one or two conferences every year since it opened. The conferences relate to the general issues the department works on, generally in the fields of anthropology and the history of art. The department is eager to lay down a coherent policy of access to this information and how it is recounted.
Au cœur du Paris des musées, voisin du Louvre et du musée du quai d’Orsay, à quelques minutes des Grand et Petit Palais, du Palais de Tokyo et du musée d’art moderne de la Ville de Paris, le musée du quai Branly occupe un site exceptionnel sur les rives de la Seine, au pied de la tour Eiffel. Les arts d’Afrique, d’Océanie, d’Asie et d’Amérique s’inscrivent dorénavant au centre du grand circuit historique et artistique de la capitale. Le musée du quai Branly est un établissement culturel novateur : à la fois musée, centre d’enseignement et de recherche, et espace à vivre pour les publics. Construit sur l’un des derniers terrains disponibles au cœur de Paris, le concept architectural de ce projet original est signé par Jean Nouvel.
En savoir plus
- Politique d'accès
- Open access
- Directeur de la publication
- Stéphane Martin
- Rédacteur(s) en chef
- Anne-Christine Taylor
- Type de support
- Etat de la collection
- Politique d'édition électronique
- Publication en libre accès
- Année de création
- Date de mise en ligne
- 29 juillet 2009
- ISSN format électronique
- Langue de la publication
- Adresse postale
Les actes de colloques du musée du quai Branly
Musée du quai Branly
Département de la recherche et de l’enseignement
222 rue de l’Université
75343 Paris cedex 07
- Ville de production
‘Under Western Eyes’: a short analysis of the reception of Aboriginal art in France through the press
Good afternoon, I know you are all very tired and are over swept by the communications, so I am going to try to be brief. I am not going to read my paper because when I read a paper in English usually people don’t understand what I’ve said, so I am going to talk more freely. My starting point will be a sentence which is quite known among the art historians : “ce sont les regardeurs qui font les tableaux”, it’s the people who look at the picture that do the picture. It’s a Marcel Duchamp sente...
So, I’m very glad to present Fred Myers, the discussant of the session, and of a very dear friend, I think we’ve known each other for quite a long time. And of course, Fred Myers is known for the book, the most quoted in Aboriginal studies, as Nick Peterson, who opened the conference was reminding us. The book is also really worth regarding Pintupi country, Pintupi self, but also for his extensive work regarding Aboriginal art, and he was in fact, and I will say the conference, and I want her...
We are all aware of the dreadful death rates of Aboriginal youth linked to suicide and other self-destructive behaviour (ABS 2012, Silburn et al., Brady 1992, Moisseeff 2011, Robinson 1992 a&b, 1990, 1995). During my last fieldwork in Australia, an Aboriginal friend in charge of an Aboriginal Youth Centre, Sherry, emphasised a problem which may seem obvious but which we need to understand more fully in order to allow for solutions that are more effective than those that already exist: youths ...
‘Morning tea with Tiwi Ladies’ is one of the attractions for tourists visiting Bathurst and Melville Islands in northern Australia. Indigenous graveyards and the production of arts and crafts are part and parcel of the itinerary. The islands have a history of one hundred years as a ‘destination culture’ (Kirshenblatt- Gimblett 1998) for tourists and anthropologists alike. From the early years of the twentieth century onwards museum interests have been a steady factor in sha...
Setting the scene
Thirty years ago, almost exactly, I argued in my PhD thesis that, among the Tiwi, dance was kinship-in-action, not so much because it reflected kinship practices in other social domains - which it did - but because I observed on the dance floor kinship relationships being explored and new ones being generated. As I put it then ‘the kinship dances are not models of, but rather models for kinship practices’ (Grau 1983: 333).
The anthropologist Jane Goodale coined t...
The present and the ethnographic present: change in the production of anthropological knowledge about Aboriginal Australia
Well first, I’d just like to thank the organizing committee and the museum invitation. It’s a wonderful chance to be here, I haven’t been here before. And also Phillippe Peltier and Anne-Christine Taylor and Jessica De Largy Healy for taking us around the museum yesterday, it was such a privilege and it was a wonderful experience, completely devoid of anybody else and with full access to the collections.
My paper “The present and the ethnographic present: reflections on the production o...
The analysis of Aboriginal “property”
In an earlier article (Keen 2010) I looked at the ways in which Aboriginal “property” was (mis)understood by English speaking observers from quite early in the colonial period through to the present. A concomitant of the process of the colonisation of Australia and appropriation of Aboriginal land has been the misrepresentation of Aboriginal concepts and processes of relations to country. Observers interpreted property, especially in relation to lan...
FRED MYERS : Thank you, I’d like to thank the organisers again and I want to thank the presentors of this panel for an extraordinarily well worked set of papers. It makes it much harder for a discussant actually, in a way, there aren’t too many loose ends. But also, a word of thanks for everybody, I’ve never seen a conference in which people police themselves to the time allowed, the managers have done quite a good job and it’s a pleasure to see things organized so well. So let me not take a ...
I am taking the occasion of the musée du quai Branly’s very recent exhibition of early Papunya paintings to talk today about the complex epistemological and political issues instantiated in the history of Papunya painting, raised by the contact between distinctive regimes of knowledge and value. It is partly a personal history and partly a story that appropriately enough, cannot be extricated from the web of relationships that define the representation and contemporary production of Aborigina...
This paper is based on PhD research undertaken at the EHESS -Paris and the University of Melbourne between 2005 and 2010. My fieldwork was based in the East Kimberley Region of north-west Australia around the community of Turkey Creek, and the towns of Kununurra and Wyndham. I collaborated with a group of contemporary artists named Jirrawun Arts, on the everyday running of the corporation and as archivist and anthropologist. The present paper will be mainly based on artworks by Rover Thomas, ...