PRESS KIT
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Press release
The Grand Sablon district of Brussels will come alive with three fairs June 10th to 14th: BRUNEAF, celebrating its 25th edition (African, Oceanic and Indonesian art) BAAF, 13th edition (archaeology: Egypt, Greece, Rome, the Middle East and Europe) AAB, 3rd edition (Asian art: China, Japan, India, the Himalayas, South and Southeast Asia). All three specialised fairs are equally demanding regarding the quality and authenticity of the pieces they show. About 100 International antiques dealers, among the leaders in their specialties, will be in Brussels. The city will be a destination and meeting place for art lovers, museum curators and collectors from around the world cannot afford to miss.
BRUNEAF (Brussels Non European Art Fair)
The oldest of the three fairs, it was created in 1990 by Pierre Loos and is celebrating its 25th anniversary this year. Brussels, the European capital, has also always been the capital of primitive art. BRUNEAF provides stunning proof of this. The fair will open under the most auspicious circumstances following the 2014 edition which was one of renewal with a brand-new team in charge, the creation of an art acceptance committee and great commercial success. “We have history, tradition, and a wonderful past”, points out Didier Claes. We are celebrating this anniversary with a guest of honour, the Sindika Dokolo Foundation, which supports contemporary African art. We are also paying tribute to the collectors who have trusted us over the years with an exhibition at the sumptuous Ancienne Nonciature. It will bring together nearly 150 pieces bought at the fair over the past 25 years”. With more than 50 international dealers, BRUNEAF remains the most important fair dedicated to primitive art. The biggest names will be attending again this year. They include Joaquin Pecci (Belgium), Kevin Conru (United Kingdom), the Berz gallery, the Brant Mackley (USA) gallery, Bernard Dulon (France) and Angel Martin (Spain). Although African art reigns supreme, there will be wonderful discoveries to be made in Oceanic art (the Coppens Tribal Art and Kapil Jariwala galleries), Indonesian art (Dalton Somaré) and pre-Colombian art (the Deletaille gallery).
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BAAF (Brussels Ancient Art Fair)
“I took part in BRUNEAF before creating BAAF”, explains Jacques Billen, an Egyptian art specialist. Then I suggested creating a fair in Brussels solely dedicated to archaeology and organised by the dealers of the galleries around the Grand Sablon”. That’s how this fair for Greek, Roman, Etruscan, Egyptian and Middle Eastern antiquities was born. The core of exhibitors from New York, Paris and Amsterdam (about 15) has been stable from one edition to the next. The president is only interested in bringing together dealers who belong to the IADAA (International Association of Dealers in Ancient Art). “It’s both a quality and an ethical label”, notes Jacques Billen. The focus of the 13th edition is on appraisals with a review board of archaeologists, scientists and museum curators. “At BAAF, we are in direct contact with collectors and we spend time with them. That’s the advantage galleries have over auction houses. We play a didactic, advisory and support role. We are the architects of their collections”, adds the president. Some collectors are extremely erudite and come to find a rare jewel. They’re passionate about the history. Others are first won over by the beauty of an object and its decorative value. “There is no standard profile. We also see young contemporary art collectors fall in love with an archaeological piece”.
AAB (Asian Art in Brussels)
The Asian Art in Brussels fair established a solid footing in Brussels in 2013. “It’s one of the most important Asian art fairs in the world”, points out its president, Carlo Cristi, a dealer specialising in the art of India, Tibet and Central Asia. About twenty international dealers, regulars of the New York, Hong Kong and London fairs, are meeting in the Sablon district in Brussels for the third consecutive year. They include China specialists Gisèle Croës, Wei Asian Art and Jacques How Choong, Japanese art dealers Kitsune Gallery, Kyoto Gallery and the Karim Grusenmeyer, Lamy and Michael Woerner galleries for Southeast Asia. AAB is pleased to welcome 3 new exhibitors specialized in the field of Japanese paintings and graphics : Ibasho (Antwerp), Hotei (Leiden) and Oranda Jin (‘s Hertogenbosch). Each dealer reserves their best pieces for the fair – all are thoroughly vetted by a committee of experts from around the world – with the goal of surprising and amazing a very demanding audience. Amateurs and collectors alike will also be able to attend a series of conferences for the ArtConnoisseurs programme during the fair. It will be held at the Cinquantenaire Museum this year. An exhibition will also reveal a superb private collection of 17th, 18th and 19th century Moghul and Sikh weapons and armour in the beautiful Art Nouveau setting of the Frison Hotel. This fair shouldn’t be missed for its opportunities to buy, and to discover and learn.
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list of the exhibitors 77 international exhibitors including: 47 dealers BRUNEAF 12 dealers BAAF 17 dealers AAB
10 countries represented
BRUNEAF • AMBRE CONGO – Pierre LOOS & Thomas BAYET, Brussels-Belgium • BERZ Gallery of African Art – Andrew J. BERZ, Pacifica-USA • Roger BOURAHIMOU, Brussels-Belgium • H. Kellim BROWN / African Sculpture, Brussels-Belgium • didier CLAES, Brussels-Belgium • Classic Primitives Gallery / Renaud RILEY, Brussels-Belgium • Congo Gallery / Marc FELIX & Joëlle FIESS, Brussels-Belgium • Kevin CONRU, London-United Kingdom • COPPENS Tribal Art, Brussels-Belgium • DALTON SOMARE, Milano-Italy • Jo DE BUCK, Brussels-Belgium • Bernard de GRUNNE, Brussels-Belgium • DELETAILLE, Brussels-Belgium • Bernard DULON, Paris-France • Michael EVANS, Dijon-France • Brant MACKLEY, Hershey-USA • Galerie FLAK, Paris-France • Bruno FREY, Arnay le Duc-France • GROUP 2 VANHEVEL, Brussels-Belgium • Alain GUISSON, Brussels-Belgium • Galerie L’IBIS / Lucien VIOLA • JACARANDA Tribal / Dori ROOTENBERG, New-York-USA • Kapil JARIWALA, London-United Kingdom • Tao KEREFOFF, Paris-France • Philippe LAEREMANS, Brussels-Belgium • Olivier LARROQUE, Nîmes-France • Galerie Abla & Alain LECOMTE, Paris-France • Angel MARTIN, Madrid-Spain • Patrick & Ondine MESTDAGH, Brussels-Belgium • Galerie MONBRISON, Brussels-Belgium • Galería Guilhem MONTAGUT, Barcelona-Spain • Alain NAOUM, Brussels-Belgium • Sanne NIES – SALON Tribal Art, Eindhoven-The Netherlands • Joaquin PECCI, Brussels-Belgium • Galerie Punchinello / Jacques LEBRAT, Paris-France • Lucas RATTON, Paris-France 6
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SCHILLER ART GALLERY, Brussels-Belgium Adrian SCHLAG, Brussels-Belgium Serge SCHOFFEL, Brussels-Belgium David SERRA, Barcelona-Spain Pablo TOUCHALEAUME, Paris-France Rut VAN CAELENBERGH, Brussels-Belgium Frank VAN CRAEN, Brussels-Belgium André & Jolie VANHECKE / THE AFRICAN, Brussels-Belgium Yannik VAN RUYSEVELT, Brussels-Belgium VISSER Gallery, Brussels-Belgium Vasco & Co/ Emilia Da Paz, Brussels-Belgium
BAAF • AKANTHOS ANCIENT ART, Antwerp-Belgium • ANTIKEN-KABINETT, Frankfurt/Main-Germany • ARCHEA ANCIENT ART, Amsterdam-The Netherlands • ARTEAS, London-United Kingdom • CYBÈLE, Paris-France • ROSWITHA EBERWEIN ANTIKE KUNST, Göttingen-Germany and Paris-France • GALERIE JÜRGEN HAERING, Freiburg i. Breisgau-Germany • GALERIE HARMAKHIS, Brussels-Belgium • THE MERRIN GALLERY, New-York-USA • GALERIE GÜNTER PUHZE GMBH, Freiburg-Germany • GALERIE TARANTINO, Paris-France • DOMINIQUE THIRION ARS ANTIQUA, Brussels-Belgium • ART LOSS REGISTER, London-United Kingdom • BIAPAL, Brussels-Belgium AAB • ASTAMANGALA / Sjoerd DE VRIES, Amsterdam-The Netherlands • BUDDHIST ART, Berlin-Germany • Carlo CRISTI / Asian Arts Company, Baulers-Belgium • Gisèle CROËS, Brussels-Belgium • Martin DOUSTAR / Ancient & Tribal Art, Paris/Brussels • DUCHANGE et RICHÉ, Brussels-Belgium • FAMARTE / Farah Massart, Knokke-Belgium • Karim GRUSENMEYER, Brussels-Belgium • HOTEI, Japanese Prints, Leiden-The Netherlands • Jacques HOW CHOONG, Brussels-Belgium • IBASHO, Antwerp-Belgium • KITSUNE / Arie Vos, Brussels-Belgium • KYOTO GALLERY / Tony CAMMAERT, Brussels-Belgium • Galerie LAMY / Georges Lamy, Brussels-Belgium • ORANDA JIN / Jon de Jong, AD ‘s-Hertogenbosch-The Netherlands • WEI ASIAN ARTS / Howard WEI, Brussels-Belgium • Michael WOERNER, Hong Kong-Bangkok 7
the events BRUNEAF celebrates 25 years with two large-scale events and a series of conferences:
The “Uzuri wa Dunia” exhibition (Beauties of the World in Swahili) Ancienne Nonciature, Sablon, Brussels BRUNEAF will present on the occasion of its 25th anniversary an important exhibition by revealing masterpieces of African, oceanian and pre-Colombian art stemming from Belgian collections. The anniversary will be celebrated in the Ancienne Nonciature, a venue that truly reflects the importance of the event. Built in the 19th century, the former Vatican embassy is the ideal setting for an exceptional exhibition. A catalogue of the event will be available soon.
UZURI DUNIA WA
BELGIAN TREASURES
10 - 14 June 2015 By BRUNEAF Ancienne Nonciature 7 Rue des Sablons 1000 Brussels
Chibinda Ilunga, peuple Chokwe, Angola. Bois, clous et cheveux, H 25 cm. Coll. privée. Crédit photo Hughes Dubois
Figure de reliquaire Fang, Gabon, Début 19e siècle. Crédit photo Hughes Dubois
Statue Mbole, RD Congo. Bois, H 85 cm Collection privée. Crédit photo Hughes Dubois
Guest of Honour: Fundação Sindika Dokolo BRUNEAF is very proud to welcome a prestigious guest of honour: the Sindika Dokolo Foundation of Luanda. The transmission of African culture in all of its different forms has always been one of the association’s primary goals. It made sense for BRUNEAF to support a Foundation, particularly one based in Africa. The Sindika Dokolo African Collection of Contemporary Art was created in Luanda, in Angola, in April 2004, by the Congolese businessman Sindika Dokolo and the Angolan artist Fernando Alvim. It consists, in part, of the Hans Bogatzke collection, which Sindika Dokolo acquired in June 2005, and which, a year later accounted for about half of the Dokolo collection. This isn’t a collection of African art, but rather an African art collection, complemented by an extensive collection of classical art.
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The Foundation The Sindika Dokolo Foundation has implemented a responsible and culturally-aware policy over the past four years by conceptualising and producing cultural, economic and political instruments and mechanisms to promote the development of contemporary African art. The goal of its promoters is to reverse the current trend which consists in exhibiting African art outside of Africa but never exhibiting it on the continent. This collection is installed in Africa, where it belongs. The Foundation’s policy also consists in collaborating with western museums to enhance the visibility of contemporary African art on the continent. Western institutions that exhibit the collection must also contribute to displaying in at least one African country. Following the disappearance of major African works of art, a side effect of colonisation, the collection’s intent is to ensure that history doesn’t repeat itself with contemporary art. Its goal is to ensure the presence of African art on African soil. Many of the most important African artists taking part in exhibitions around the world are virtually unknown in Africa. By showing their works to Africans, the Foundation hopes to increase knowledge of contemporary African art across the continent. To illustrate its philosophy, the Foundation has supported the creation of a contemporary art centre in Luanda which will be an important partner in the international art scene. The creation of the Sindika Dokolo African Collection of Contemporary Art, active participation in the Luanda cultural movement, the hosting of the first Luanda Triennale, where many of the works in its catalogue were exhibited, and the design and construction of the first African pavilion at the 52nd Venice Biennale are all unprecedented cultural events in African and world art. The Foundation now owns over 500 works by 140 artists from 28 different African countries. The Foundation has been buying new works on a regular basis at a pace of about 100 a year. Given the Foundation’s prospects, it is becoming increasingly urgent to create a definitive physical centre, a building with a cultural and multidisciplinary purpose to ensure the continuity of the movement and of artistic activity in Luanda and in Angola and to help develop a strategy with other African cities and nations as well as a network of partnerships with international institutions. We believe that it is vital to think about and plan the historical and scientific dimension of the African aesthetic. We are therefore committed to making a contribution to ensure the cohesion of the parameters which define the Angolan spirit and aesthetic. We believe that it is essential that citizens and institutions support the African core of the Sindika Dokolo Foundation’s contemporary art and culture to contribute to the pacification and self-confidence of Angolans and to the development of their nation.
Conferences “Tshokwe Art” by Julien Volper, Cultural Anthropology Division, Ethnography, MRAC Tervuren “African Art from Yesterday to Today” by Marc Leo Felix and Roger-Pierre Turine
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AAB proposes an exhibition and a lecture around Moghul and Sikh arms ands armours: Exhibition « Fight Pray Love » Hôtel Frison, rue Lebeau 37, Brussels The exhibition: Fight – Pray – Love will focus on Moghul and Sikh arms and armours from an important private European collection. A catalogue will be presented in conjunction with the exhibition and a lecture will be held by the renown specialist Robert Elgood. The exhibition focus on the role of weaponry in acts of workships and rituals; its sacred role in the quotidian world and in religious ceremonies and the techniques; the design and decoration symbolism intervening in its manufacture, and on the wider role this material and metaphysical phenomenon has had to play. The exhibition will be held in an exceptional “Art Nouveau” building from the Belgian architect Victor Horta in 1894. « North Indian weapons and warriors », lecture by Robert Elgood Saturday 13 June, 5pm. Hôtel Frison, rue Lebeau 37, Brussels Muslims and Hindus had differing attitudes to arms and their place in the social structure but both delighted in producing the most magnificent arms possible. For Hindus warriors these were spiritually charged objects which the Goddess was persuaded to enter every year in the Durga Puja festival to make them efficacious.. For Muslims arms were part of religious duty but also about prestige and political power which was passed from the ruler to privileged subjects in the khilat system where by accepting gifts of personal items they became ‘limbs’ of the ruler, personifying his authority. This lecture will discuss a rich and varied selection of objects chosen for their beauty and for what they tell us about the people who owned them, how they thought and behaved. Robert Elgood has a BA in Islamic History from the School of Oriental and African Studies (SOAS), London University; and a DPHIL from Oxford University in Indian Anthropology. He was consultant in Indian and Islamic arms at Sotheby’s London in the 1980s and Research Fellow, Eastern European, Islamic and Asian Arms and Armour at the Wallace Collection 2006 - 2012.
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The art fairs AAB and BAAF are happy to announce the third edition of “ArtConnoisseurs - a rendezvous with Art, Knowledge and Beauty”, which will be organised in collaboration with the Royal Museums of Art and History. ArtConnoisseurs Friday 12 June from 5 pm to 7 pm. Musées Royaux d’Art et d’Histoire (Musée du Cinquantenaire) On Friday the 12th of June, the Cinquantenaire Museum will host a series of lectures on Asian art and Archaeology given by the museum’s specialists and by invited international scholars. As every year, the lectures will be filmed and made available online on the websites of ArtConnoisseurs (www.artconnoisseurs.eu), Asian Art in Brussels (www.asianartinbrussels.com) and Brussels Ancient Art Fair (www.baaf.be). At this occasion, the museum will exceptionally open its reserves and offer private guided tours conducted by its curators. A fundraising party will also be held after the lectures to benefit various projects of the museum. The Concept: ArtConnoisseurs is a cultural programme taking place simultaneously to the fairs which are held each June at the Sablon in Brussels. Since the last 3 years, , in order to add the pleasure of knowledge to the events of the fairs, ArtConnoisseurs has received over 30 speakers of international standing in the field of Archaeology, ancient and Asian art. Many videos of the conferences are available on the websites of ArtConnoisseurs (www.artconnoisseurs.eu), AAB (www.asianartin brussels.com) and BAAF (www.baaf.be). ArtConnoisseurs is the cultural event organised by Asian Art in Brussels (AAB), Brussels Ancient Art Fair (BAAF), Brussels International Art Promotion and Logistics (BIAPAL) and the Institut Belge des Hautes Etudes Chinoises (IBHEC)
Hidden Treasures from the Floating World The Collection of Japanese Prints in the Royal Museums of Art and History, Brussels by Nathalie Vandeperre, Curator Far-Eastern Department (China, Japan, Korea) - Royal Museums of Art and History (RMAH), Brussels
Ukiyo-e prints were among the very first objects the RMAH acquired for its Japanese section, with the purchase of 267 prints at Bing’s in Paris in 1889. The most important acquisition no doubt was Edmond Michotte’s collection in 1905, that counted over 4600 prints. After the exhibition of the Michotte collection in 1911, the print collection grew but remained hidden in the storages until the 1970’s when it was rediscovered by the American specialists Roger Keyes and Jack Hillier. They identified unique Sharaku prints and found a selection of Harunobu prints in an impeccable state of conservation, among many others. With the restauration works of the Museum of Japanese Art in 2013, the prints returned to the storages. This lecture will introduce the highlights of the ukiyo-e collection, one of the treasures of the RMAH. Nathalie Vandeperre is curator of the Far-Eastern department (China, Japan, Korea) of the Royal Museums of Art and History (RMAH) in Brussels. She heads the Museums of the Far-East (Chinese Pavilion, Japanese Tower and Museum of Japanese Art) and their export art collections. She recently curated two important exhibitions: Utamaro: the twelve hours of the green houses, and other beauties (Museum of Japanese Art, 2012 (she also co-authored the catalogue of the exhibition); and Hokusai: views on Mount Fuji and other landscapes (Museum of Japanese Art, 2013) Recent publications: « The King’s dream » and « Collecting the Far-East » in Arts of Asia nr.200, 2012 ; editor of « Hokusai, coup d’œil sur les deux rives du fleuve Sumida, suivi de Le fleuve Yodo » by M. Forrer , Editions Hazan, 2012 ; and of « Keisai, le maître du dessin abrégé. Tous les albums de style ryakuga » by M.Forrer, Editions Hazan, 2013 11
From India to Continental Southeast Asia: the Diffusion of Buddhist Iconography by Pierre Baptiste, Senior curator - Southeast Asia, National Museum for Asian Art – Musée Guimet, Paris
Thanks to the study of a selection of Buddhist art objects preserved in Thailand, Cambodia and Vietnam, it is possible to explain and illustrate the close links between these images (Dvaravati art, Preangkorian Khmer statuary, art of Champa) and the Indian prototypes that generated them. These iconographical and stylistic links will be illustrated and studied thanks to a florilege of masterpieces from Southeast Asia statuary (c. 6th to 10th century). In charge of the Southeast Asian art department of the Musée Guimet since 1996, Pierre Baptiste is an art historian and researcher. Teacher at the Faculty of Archaeology of the Royal University of Cambodia, Phnom Penh (1998-2002) and the Ecole du Louvre, Paris, he directed the renovation of the Southeast Asian galleries at the Guimet (1996-2001). Author of several essays, and articles devoted to the arts of Cambodia, Vietnam and Thailand, he participated to the scientific direction of books in this field, such as (Missions archéologiques françaises au Vietnam – 1903-1904, 2005 ; Catalogue des collections khmères du musée Guimet, 2008). He curated exhibitions on several aspects of the arts of Southeast Asia, suche as : Trésors d’art du Vietnam - La statuaire du Champa, 2004 ; Dvâravatî : Aux sources du Bouddhisme en Thaïlande, 2009. He organised an exhibition on Louis Delaporte and the so-called rediscovery of Angkor (Angkor Naissance d’un Mythe – Louis Delaporte et le Cambodge, 2013) and recently curated an exhibition with Vietnam on the iconography of the Dragon (L’Envol du Dragon – Art royal du Vietnam).
Crafting Chinese Buddhist Sculpture: Case Studies from the Metropolitan Museum of Art by Denise Patry Leidy, Curator (Chinese sculpture and decorative arts), Department of Asian Art - The Metropolitan Museum of Art, New York
From an early Buddha cast using the distinctively Chinese piece-mold technique to a late seventh-century mandala, one of the earliest known examples of this type, to wooden bodhisattvas with hidden mirrors, scientific examination has yielded new information regarding the dating, meaning, and function of many of the Chinese Buddhist sculptures in the collection of the Metropolitan Museum of Art. This presentation will both introduce new material regarding some of the most famous masterpieces in the collection and explore the ways in which this information broadens our understanding of the practice of Buddhism in China. Denise Patry Leidy has a PHD in Art History of the Columbia University of New York. Curator since 1995 in the Department of Asian Art at the Metropolitan Museum of Art (Chinese sculpture and Decorative Arts), she is responsible for extensive collections of sculpture, lacquer, ceramics and other decorative arts including bi-annual rotations of lacquers and textiles in The Florence and Herbert Irving Galleries for Chinese Decorative Arts. Recent projects include « Silla : Korea’s Golden Kingdom » (with Soyoung Lee) and the development of a « Treasure Room » for the third floor decorative arts galleries. Author of many books, essays, exhibition catalogues and brochures and gallery guides about Chinese, Korean and Central Asian Art, curator of major exhibitions in the Metropolitan Museum of Art and other museums, she is a very active international lecturer and collaborates at research projects and scholarly activities in her speciality : the Buddhist art of Asia.
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Under the Stars of Nut. The Egyptian Coffins of the Royal Museums of Art and History.
by Luc Delvaux, Curator Dynastic and Greco-Roman Egypt, Royal Museums of Art and History, Brussels Friday 12 June at 5 pm The Royal Museums of Art and History of Brussels preserves more than thirty ancient Egyptian coffins, or fragments of coffins, dating from the Prehistory to the Greco-Roman period. In November 2015 will start an important operation of restoration of the series of coffins issued from the Second Cache of Deir elBahari (Bab el-Gasus), a mass grave dedicated to the Theban priests of Amun and their families (21st Dynasty, c. 950 BC). In this context, a new reappraisal of the whole collection of coffins of the Museum has been initiated, aiming mainly at the study of their archaeological contexts. This search has greatly improved our knowledge of the collection and brought new lights on its links with the main archaeological sites of Egypt.
Isis the magician: from text to image
by Prof Dr Olivier Perdu, Chair of Pharaonic Civilization of the College de France, Director of the Revue d’Egyptologie and Vice-President of the French Egyptology Society. Friday 12 June at 6 pm Isis is one figure among the pantheon of pharaohs whose fame has spread widely beyond the Nile Valley. She came to represent the universal goddess for the Romans. Her popularity owes much to her role as spouse of Osiris and mother of Horus, but also to her talents as a magician that she deployed to protect her child. This facet of her personality, which has been abundantly commented upon in the texts, is also illustrated in images whose range and originality still needs to be further explored.
The Hellenistic and Roman gold of Mariemont: contrasting perspectives on an unpublished collection
Hellenistic gold earing, Musée royal de Mariemont, inv. Ac.70/31 © Musée royal de Mariemont photo M. Lechien
by Annie Verbanck-Piérard, curator at the Royal Museum of Mariemont, Dr Corinne Besson, and Dr Cyril Thiaudière, founders of Aurum Antiquum (*) Friday 12 June at 7 pm The communication will cover a lot of gold jewellery purchased by the Royal Museum of Mariemont in 1970 and believed to date from the Hellenistic Age. A multi-disciplinary stylistic and technical study has enabled a more precise dating of the jewellery, some of which are from the Roman period. Several analyses have focused on the composition and manufacturing techniques and revealed the reworking, modern additions and pastiches which have changed the original aspect of some of them. The presentation will also address the issue of the jewellery’s museological display and highlight its history, both ancient and modern. This research was carried out in collaboration with Véronique Lamy, Maxime Callewaert, François Mathys et al. (*) Aurum Antiquum : study and expertise office specializing in the field of antique jewellery from the Mediterranean basin 13
the ColleCtors turn An interview with collector Stanislas Gokelaere / BRUNEAF What, in your opinion makes BRUNEAF so special? The fair has been a required stop for all serious collectors since the beginning. It’s very well organised by a dealer association and provides an opportunity to see a remarkable concentration of quality items in one place. I come to find one-of-a-kind pieces, unearthed by dealers who are always in touch with the leading collectors. There are also often wonderful exhibitions organised during the fair. They provide real added value. I’ve come to BRUNEAF every year since I started collecting twenty years ago. What do you collect in particular? I’m very eclectic. I collect primitive art, but also furniture from the 1930s to the 1960s and art from the second half of the 20th century. I was born into that world and my parents were art dealers. I’ve always been in a very favourable environment. What fascinates me most about African art is the strength and energy of the objects, their plastic qualities. Brussels has always been an important crossroads for art from central Africa, from Zaïre and Angola. It continues to one of the major strengths of BRUNEAF today. In terms of modern and contemporary art, I tend to prefer strong works with material density. The issue of density is very important for African statues and masks. What makes an object exceptional in your eyes? The energy it communicates. The quality of the sculpture too, its patina, its history; the history that shaped the object, that gave it its DNA. I’m less interested in a work’s pedigree. Great collections sometimes contain very poor pieces. I usually buy on the spur of the moment, but things have to work together. A dialogue has to develop between the objects. A collection is dynamic. You buy and sell, but it always has to be coherent. Are there many major primitive art collectors? No, it’s a very small circle. A fair like BRUNEAF encourages meetings and exchanges between collectors. That’s very important. We talk about our tastes, our works and what we’ve found or bought. It’s a great moment of sharing and conviviality.
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Interview with collector Enrico Castellani / AAB How did you become interested in Asian art and start collecting it? I first became interested in Asian art in the mid-90s following a trip to central Java where I saw the marvels of Indonesia for the first time. Visits to the temples of Borobudur and Prambanan took my breath away. The experience convinced me that my lack of knowledge about Asian art and culture (Indian, in particular) had kept me away from absolute beauty I had never seen before for far too long. I also became interested in the Indian pantheon, cosmology and philosophy. I soon felt the need to start a collection. I met some Italian dealers specialised in the art of Southeast Asia, the Himalayas and India and I bought my first pieces from them. A few years later, I took the next step and bought some pieces at Sotheby’s, in New York then from some major international dealers in London and Belgium. It all happened very naturally. Which countries, cultures, civilisations and periods are you most interested in? I have a passion for Indian art in particular. This includes art from other regions in which India extended its influence such as Central Asia, the Himalayas and Southeast Asia. Nepal, Tibet, Cambodia, Burma, Sri Lanka, Thailand, Indonesia…all of these countries bear witness to and provide fascinating examples of India’s contribution to art. In other words, I’m interested in all preIslamic cultures from these areas from the 2nd century BC to the 15th century AD, although my interest in Tibetan art covers more recent periods. What are your criteria for acquiring a work? If you set aside the fundamental questions of authenticity, price and, of course, the provenance of the pieces, I’m primarily interested in the aesthetics. My choices are based on a personal taste for certain styles and certain cultures such as Pala art from Nepal, Gilgit and Kashmir, the Bactrian region of central Asia, Tibet, central Java and Srivijaya, Khmer art... What do you like about the Asian Art fair in Brussels? It brings together major dealers from different countries, the vetting of the art objects is very convincing, there are quality conferences given by eminent experts and the fair, concentrated in a small district, takes place in a very relaxed atmosphere. I think all that helps make it successful. But, its other main asset, which makes the event truly unique, is the fact that it is combined with BRUNEAF and BAAF, two other fairs which take place in the same place at the same time. Although I don’t collect primitive art and I’m not a specialist in Mediterranean archaeology, the mix is extremely interesting. Holding the three events at the same time, each with their own specificities and appeal, is a pleasure for all who attend, whether they’re a collector or a dealer.
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the Committee of direCtion The BRUNEAF committe Didier Claes
Member of the Chambre Belge des Experts en Œuvres d’Art de Belgique (C.B.E.O.A.) [Belgian Chamber of Artwork Experts] Member of the Chambre Royale des Antiquaires de Belgique (C.R.A.B./K.K.A.B.) [Belgian Royal Chamber of Antiques Dealers] Member of the Syndicat National des Antiquaires français (S.N.A.) [French National Association of Antiques Dealers] Vice-president and Treasurer, Brussels Non European Art Fair, (BRUNEAF) Vice-President, Brussels Antiques & Fine Arts Fair (BRAFA)
Patric Didier Claes specialises in Central African art Exposed from a young age to the culture and traditions of Africa, he first travelled to the Congo on his own in 1989, where he took the opportunity to further his knowledge. For ten or so years, he supplied antiques dealers in Brussels and Paris. In 2000, he again headed off to participate in numerous fairs, such as the «International Tribal & Textile Arts Show» in de New York, BRAFA, BRUNEAF and «Grands Antiquaires» in Brussels, as well as «Kaos-Parcours des Mondes» and the Salon du Collectionneur au Grand Palais, in Paris. Since 2005, he has also been a member of the Belgian Chamber of Artwork Experts and participates in various other projects. In 2007, he was the co-curator of the exhibition Mestach l’Africain, then curator of the exhibition Congo mythical masks in June 2009, in Brussels. In 2011, he curated the exhibition Arts d’Afrique. Voir l’invisible at the Musée d’Aquitaine in Bordeaux and director of the work Empreintes d’Afrique: l’art tribal au fil des fleuves at the «5 continents» events. Opened in 2002 in the Sablon quarter of Brussels, his gallery occupies a prestigious spot devoted to the presentation of exceptional quality works of art from major collections. The gallery boasts a client list including American and European collectors as well as international museum institutions.
Marc Leo Félix
Vice-president and Secretary of the Belgian Association of Dealers in Non European Art (BADNEA) a!nd Brussels Non European Art Fair, (BRUNEAF) from 1990 to 2009 Founder and Director of Congo Basin Art History Research Center Commissioner of international exhibitions Expert in art of Congo during international fairs Editor and author of books concerning the art of Central Africa Member of the Society of the Africanists Adviser in art of Black Africa with universities and Chinese museums Member of the Board of Directors of the Musical Instrument Museum (MIM) Phoenix, Arizona
After reading Latin and Greek at Sint-Jan Berchmanscollege, Art studies at the Académie Royale des Beaux-Arts in Brussels, Marc Felix also pursued studies in History of art, with particular focus on nonEuropean art at the Royal Museums of Fine Arts and History. He made his first trip to the Congo between 1959 and 1960, before enrolling in the Royal Military Academy (Infantry) in 1961. In 1962, he opened an ethnic and tribal art store in Brussels. Between 1964 and 1966, he lived in the Middle East to study, amongst other things, the cultural relationships between southern Arabia and East Africa. Between 1966 and 1971, he lived in Nigeria, Gabon and Cameroon. From 1972 until the end of the 1990s, his numerous trips to East Africa, South-east Asia and Central Melanesia allowed him to become an expert in tribal art and cultural relations in these areas. His ethnographic work includes work on musical instruments and their recordings in Africa, India, Indonesia, Vietnam and New Guinea. In partnership with the French dealer, Philippe Guimiot 1972-1975, Felix opened the Galerie Continents in Brussels, specialising in ethnic art. In 1975, he opened his own gallery, Arts Tribal, specialising in tribal art from the Congo, until 2001. Travelling regularly to the United States of America, he became a consultant for major museums, universities and collectors on the subject of Congolese tribal art. In 1985, he established the Congo Basin Art History Research Center in Bukavu, in the Democratic Republic of the Congo (then Zaire). After the riots in 1991, the Center moved to Brussels, where it is still very active. He has written approximately twenty major works on Central African art and published numerous papers, articles and essays. He is the founder and director of Congo Arts, a gallery specialising in themed exhibitions of art and ritual handicrafts from Central Africa. Felix has organised over forty exhibitions on Congolese tribal art in Austria, Belgium, Congo, China, Denmark, France, Germany, India, Japan, the Netherlands, USA and Taiwan. Over the course of his career, he has acted as expert for numerous international tribal art museums and exhibitions.
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Ondine & Patrick Mestdagh
Member of the Chambre Royale des Antiquaires de Belgique (C.R.A.B./K.K.A.B.) [Belgian Royal Chamber of Antiques Dealers] Co-President, asbl Sablon Quartier des Arts et du Commerce [Sablon District Arts and Business, non profit organisation] Vice-president and Treasurer, Brussels Non European Art Fair, (BRUNEAF
Ondine and Patrick Mestdagh have been based in the heart of the Sablon quarter of Brussels for fifteen years. Passionate about design, they act on «impulse». On their numerous travels, their attention has been caught by non-European objects, from Oceania to Africa, as well as Indonesia and North America. By exploring many cultures, they love to mix beauty with everyday items.
The BAAF committe Jacques Billen
President of BAAF since 2003 Member of the Chambre Belge des Experts en Œuvres d’Art de Belgique [Belgian Chamber of Artwork Experts] (Board) Member of the Chambre Royale des Antiquaires de Belgique (C.R.A.B./K.K.A.B.) [Belgian Royal Chamber of Antiques Dealers] (Board) Member of Brussels Art Square/BAS (Board) Member of the International Association of Dealers in Ancient Art (IADAA) Member of the Syndicat National des Antiquaires (S.N.A.)
Jacques Billen established his gallery in 1988 in Sablon, the antiques quarter of his home town. The gallery is called «Harmakhis» as a reference to the Great Sphinx of Giza, assimilated since the New Empire to «Horus in the horizon». Indeed, before it went to join the collections of the Munich Egyptian Museum, a sphinx with a mane of Pharaoh Amenemhat III (12th dynasty 1844-1797 B.C.) served as the emblem of the gallery for many years and welcomed visitors. A graduate of History of Art and Archaeology, and of Philology and Oriental History of the Université Catholique de Louvain, Jacques Billen is first and foremost a specialist in Ancient Egyptian Art. In parallel with his career as an antique dealer, Jacques Billen is also an expert in the field of Egyptian art. As such, he provides valuable advice to a great many collectors and public institutions around the world, participating on various expert committees for several well-known international fairs, including TEFAF (for close to 15 years). He has participated or is participating in the following fairs: Ars Antiqua Brussels, Brussels Ancient Art Fair/BAAF, BRAFA, BRUNEAF, Cultura, Foire des Antiquaires de Belgique (Palais des Beaux-Arts),TEFAF, Winter B Sablon.
Dominique Thirion
Treasurer Member of the Chambre Royale des Antiquaires de Belgique (C.R.A.B./K.K.A.B.) [Belgian Royal Chamber of Antiques Dealers] Member of the International Association of Dealers in Ancient Art (IADAA)
The gallery Ars Antiqua was established in 1982 and is dedicated to ancient coins and archaeological artefacts.
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The AAB committe Carlo Cristi
President Carlo Cristi / Asian Arts Company
Carlo Cristi is a collector and dealer in Asian art: his passion for Himalayan art began in the 1970s, a period during which he spent time in India, the Philippines and Indonesia. His main areas of interest are bronze, wood and terracotta sculptures, paintings (tangkas) and Tibetan manuscripts and ancient central Asian textiles. His clientele is comprised of museums, foundations and European, American and Asian collectors. Since 1998, he has participated in the «International Asian Art Fair New York» now called «Asia Week New York», in «Asian Art in London» since 2011 and since its launch at the «Brussels Oriental Art Fair» which became «Asian art in Brussels» in 2013, for which Carlo Cristi is president. Thanks to his wealth of experience and his network of contacts in the Asian art world, Carlo has made this event a quality international fair with a committee of experts and a series of lectures presented by eminent authorities in the field of Asian art.
Georges Lamy Vice President Galerie Lamy
Gallery specialising in Oriental Art (Middle Eastern, Chinese, Southeast Asian and Japanese). The main focus of our collections is on China (Porcelain, Bronze, Silver and furniture with a preference for works of art). A father and son business (Georges et Hugues Jean Lamy), established in 1996 in its current form based on a long-standing passion for collecting by the father and the professional experience of the son who, after graduating in sinology from the University of Ghent had eight of experience as a «Senior Specialist» in the China department of Christies in Amsterdam and London. We are members of the Chambre Royale des Antiquaires de Belgique [Belgian Royal Chamber of Antiques Dealers] (Director and Treasurer), and the Syndicat National des Antiquaires de France [French National Association of Antiques Dealers]. Georges Lamy is also vice president of Asian Art in Brussels and Hugues Jean Lamy is an administrator of BRAFA (Brussels ART FAIR). We also participate at the FINE ART FAIR in HONG KONG.
Paola D’Alatri et Howard Wei Treasury Galerie Wei Asian Arts, Brussels
Passionate sinologues by training, we have lived, studied and travelled in China for more than thirty years. Our initial research delved into the culture and classical Chinese art with two areas of particular interest: Buddhist sculpture and works of art. In archaeology, we have concentrated on «barbarian» contributions, little known by Chinese historians for many years. Since 2001, our gallery is located in the Sablon district of Brussels. We have participated at various specialist fairs in Brussels (Bruneaf, Boa Fair et AAB), Paris (Parcours des Mondes), New York (Asia Week), Madrid (Feriarte) and San Francisco. Our pieces are carefully selected and are accompanied with a detailed description and an expert report. We rely on internationally recognised laboratories for various scientific tests. We are founding members of Asian Art in Brussels of which Paola is treasurer.
Arie Vos
Administrator Galerie Kitsune Japanese Art
Galerie Kitsune specialises in Japanese art reflecting the spirit of Japan and its rich traditions. The works of art represent daily life, simplicity...beauty without pretence and wabi-sabi. Arie Vos has managed the gallery since 1998 and regularly organises themed exhibitions. During Asian Art In Brussels you will find a selection of pieces related to the tea ceremony.
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PraCtiCal information Free parcours in galleries marked out by Sablon From Wednesday 10th to Sunday 14th June 2015 Opening hours: Wednesday 10th June: preview from 3 pm to 9 pm Thursday 11th June: from 11 am to 8 pm Friday 12th June: from 11 am to 7 pm Saturday 13th June: from 11 am to 7 pm Sunday 14th June: from 11 am to 5 pm Locations: Fairs: Galleries on and around Place du Sablon found@bruneaf Exhibition: Ancienne Nonciature, Sablon, Brussels Fight Pray Love Exhibition: Hôtel Frison, rue Lebeau 37, Brussels Lectures: ArtConnoisseurs: Musées Royaux d’Art et d’Histoire North Indian weapons and warriors: Hôtel Frison, rue Lebeau 37, Brussels Website : www.3fairs.be Contacts : BRUNEAF www.bruneaf.com 17 impasse Saint Jacques, B-1000 Bruxelles Tel : + 32 (0)2 514 02 09 info@bruneaf.com BAAF www.baaf.be 17 rue des Minimes, B-1000 Bruxelles Tel : +32 (0)4 92 96 88 42 info@baaf.be AAB www.asianartinbrussels.com 238 Boulevard Général Wahis, B-1030 Bruxelles Tel : + 32 (0)2 503 58 35 asianartinbrussels@gmail.com
PRESS CONTACT : Observatoire – Véronique Janneau www.observatoire.fr 68 Rue Pernety, 75014 Paris, France Aurélie Cadot : aureliecadot@observatoire.fr - Tel : + 33 (0)1 43 54 87 71 49