RSSBranly Museum of Indigenous Art
Nov 20
Walking into the grounds of the Branly Museum evokes an atmosphere of wildness, from the steel rods that are constructed to resemble the bull rushes they enclose (an effective deer fence we think) to the profusion of plants that would look more at home on Hornby than here in Paris.
A huge wall of glass encloses more wild thickets and creates a reflective silence broken only by the songbirds that enjoy this urban respite.
The building that houses this extraordinary exhibit of Indigenous art was designed by architect Jean Nouvel. He has raised it above ground on pillars to free up more space for gardens.
Designer Patric Blanc is responsible for the exquisite Vegetative Wall that covers one exterior wall of the six stories building. He has created an transition from the elegant and traditional limestone Hausmannian buildings in the neighborhood (see my previous blog on the 7th arr.) to Nouvel’s organic free form, steel, and glass construction. We attempted photos at dusk on a mid- November evening but we would love to see this cascading greenery of flowers and mosses in its summer brilliance.
Entering the museum you are transported along a ramp way on which a river of global and timeless words are projected like sparkling drops of light and which in places disappear off the edge of the inclined plane. One feels somewhat dizzy waking through this ever changing river, a feeling that is accentuated by the purposeful uneven path.
Next one crosses the dusky, narrow passageway that is dark like a birth canal. Everything is designed to transport you to another universe. The world of far away continents.
From Oceania to Asia then from Africa to America the collection features nearly 3500 pieces. There are no walls only glass display cases that seem to be scattered in a forest of filtered light.
One is guided through the exhibit along undulating walls about 7 to 10 feet high, of various thicknesses, carved and sculpted from concrete and covered in natural toffee colored leather.
The subdued natural light throughout the gallery created a feeling of intimacy as did the labyrinth of glass display cases of different levels and shapes that opened out to a gathering spot or resting place built into the leather walls.
The extensive exhibits defy description and of course cameras were discouraged. Someone who we will not name did manage to snap a few photos but if you are interested in the collection and can’t get to Paris, Glen and I have a book at home that captures some images sent to us from a woman we met in Paris in 2006 since we were disappointed not to have seen the exhibit.
Suffice to say we were suitably overwhelmed as we exited into the dusk. We strolled by the blue and purple light show the fiber optics cast which created a weird glow on the underbelly of the building, yacking as we went. We were particularly excited about the Asian exhibit, the clothing and how the women developed their own styling, the intricate bamboo baskets and fishing implements, the early guns inlaid with precious and semi precious stones, the palanquin fit for a camel and on and on…..
