PARIS.- ‘‘Long Live Parcours!” The phrase was on everyone’s lips, from beaming gallery owners to starryeyed visitors, collectors and even the casual observer. After its closing on Sunday 16 September, Parcours des Mondes 2018 has had much cause for celebration. The highly anticipated by the American collector Adam Lindemann, themed exhibitions of incredible diversity, an epic retrospective exhibition ‘‘Pigalle 1930, retour sur une exposition mythique’’ curated by Charles-Wesley Hourdé and Nicolas Rolland at the Espace Tribal, and a rich line-up while basking in the waning rays of the September sunshine – simply by looking through the programme of the day, the 17th edition boded well for a ravishing event. And it definitely did not disappoint – higher footfall, more amateur art enthusiasts among visitors, and most notably, American buyers making a huge comeback after several years of cautious attendance. A look back on a week at the heart of the realm of art and art collection.

ADAM LINDEMANN, HONORARY PRESIDENT 2018: TAKING TRIBAL ART AND CONTEMPORARY ART TO THE WORLD STAGE
Invited to preside over Parcours des Mondes 2018, Adam Lindemann, American art collector who helms Venus Over Manhattan, an art gallery specialising in iconoclastic exhibitions where historic and modern artworks mingle, was able to inject his dynamism tinged with modernity into the exotic ambiance of Parcours des Mondes. Apart from his writings about art and the records he has set at contemporary art auctions (Hanging Heart by Jeff Koons in 2007 and a Basquiat canvas in May 2016), this lover of the arts and culture, expressing his passion for the collection in flawless French, sets himself apart by the wealth and eclecticism of his collection, blending contemporary art with African and Oceanian art.

The makings of an ideal President, who won over journalists during the inaugural press conference through his erudition and authoritative knowledge of the artworks showcased during Parcours des Mondes 2018.

Whether it was a consequence or coincidence, what stood out for this edition was the return of American buyers in great numbers in the European market, according to Galerie Flak (Paris), Galerie Jean-Baptiste Bacquart (Paris), Galerie Abla & Alain Lecomte (Paris) and Christophe Hioco (Paris), to name just a few. The mix of visitors to the art fair was particularly international (USA, Europe in the widest sense of the term, Australia, etc), with two-thirds of visitors being foreigners and one-third of them French. German and Belgian visitors made up the largest number of European clients. This also serves to highlight the fact that many curators of international museums attended the opening of the event, a guarantee of the consistent quality of participating gallery owners’ selections.

In terms of number of visitors, the overall impression was one of record footfall. This was the case throughout the event, with visible peaks on opening day and Saturday. Indian Heritage (Paris) even called the increased amount of visitors a ‘tsunami’. Even though exact numbers cannot be obtained, it is estimated that there were a total of 12,000 visitors during the entire event. This tallied with the reality on the ground – both on weekdays and the weekend, the streets and pavements were packed and collectors made major purchases all the way until the event ended on Sunday.

While galleries are divided on the volume of new clients (few for Galerie JeanBaptiste Bacquart (Paris), more for Galerie Olivier Larroque (Nîmes)), they do agree on the increase in American visitors compared to previous years. Olivier Larroque reports an influx in relatively younger clients (between 30 and 40 years old), a sign of renewal and the arrival of a generation whose aesthetic and artistic preferences in art collection remain to be defined.

As usual, attendees included connoisseurs and seasoned buyers of tribal Asian and African art, but gallery owners were also pleased to notice many casual and curious browsers, few and far apart in earlier editions, who came by to admire all the undiscovered beauty on display. Some of them apparently have travelled across Paris (or Europe!) and made the rounds of the galleries just for the occasion, a promising sign that underscores the importance of Parcours des Mondes on the international scene for primitive and Asian arts. This is an observation that Julien Flak confirms, adding that ‘‘this edition once again maintains the central, unsurpassed position that Parcours occupies in the annual schedule of [his] business worldwide’’.

All of these newcomers may have been drawn to this fair by the introduction of contemporary art, symbolised by Adam Lindemann’s appointment to the position of Honorary President, as much as the dynamism that individual exhibitions by galleries have breathed into the fair.

RICH THEMED EXHIBITIONS, THE WONDER OF DISCOVERY AND THE PIVOTAL ROLE OF DYNAMISM
Through their wealth, abundance and quality, themed exhibitions have once again drawn curious onlookers and art enthusiasts into the dimmed interiors of galleries. The variety of themes on display reflects the conscientious and specialised research that went into each exhibit, with the aim of arousing the attention of visitors.

Following the example of the exhibition organised by Galerie Abla & Alain Lecomte (Paris), ‘‘OBJETS MÉDECINE. OBJETS RITUELS’’, this method holds major potential for attracting and inducing acquisition. Stimulating buyers’ interest in the content of the object in addition to its aesthetic quality has therefore translated into a large number of significant sales, as soon as the event was declared open. The first sale was a Kafidelejo Sénoufo from the former collection of Allan Stone which was acquired by a French collector. As proof of the consistent quality that always creates buzz around such selections, the gallery confided that it could have sold the object to several clients, as interest in it was intense. The second object of significance was the Bambara Komo mask, which was also highly sought after and sold immediately at a price in the region of €20,000.

At Galerie Flak (Paris), ‘‘AfriCubisme. Ancient African Art and Cubism cross paths’’ made the (good) decision to cross styles by opposing works by pioneers of modern art (Vlaminck, Picasso, etc.) with about thirty Senoufo, Dan, Dogon, Tsogho, Songye, Lwalwa or Baga artworks, illustrating the same artistic convergence that lies at the heart of human creation, and ‘‘La Condition Humaine’’, the theme of the exhibition by Galerie Dandrieu-Giovagnoni (Rome) of three feminine statues.

Olivier Larroque took up the challenge of exhibiting the technical and aesthetic magnitude of miniature African sculptures while Galerie Bernard Dulon (Paris) showcased ‘‘Diamant noir’’, a Dan mask from the former Rasmussen collection.

At the opposite end of the spectrum, while realising how many objects were made from coconuts acquired from here and there over time, Anthony Meyer opted for this stimulating and alluring theme, conspicuously loaded with ideas of impartation and personal history, since some of the objects came from his father’s collection. Galerie Meyer - Oceanic & Eskimo Art therefore off ered the sale of part of this collection, based on the theme of coconuts, for an exhibition titled ‘‘Une exposition pas ... à la noix. La noix de coco dans tous ses états en Océanie’’. A humoristic break while browsing the extensive stretch of arts, cultures and galleries.

Espace Tribal remains the platform for fertile discussion on know-how and visions – between journalists and Adam Lindemann, during a highly fruitful and friendly discussion at the inaugural press conference on 11 September, between various types of audience and a historical and cultural approach to artefacts and the concept of collection and ‘collectionism’.

The radiating aura of prestige therefore seems to be the heart of the 2018 edition. To quote Julien Flak, Parcours des Mondes 2018 took place ‘‘with excellent energy and in an ambiance of sharing’’, represented by the ever-increasing number of themed exhibitions which were truly from the heart.

HISTORY OF COLLECTIONS: HISTORY AND COLLECTION. A RETROSPECTIVE EXHIBITION THAT WIDENS HORIZONS
The retrospective exhibition ‘‘Pigalle 1930, retour sur une exposition mythique’’ organised by Charles-Wesley Hourdé and Nicolas Rolland, together with Tribal Art magazine, on the exhibition of African and Oceanian arts that was held at Galerie du Théâtre Pigalle in 1930, seemed to intrigue and engage the minds of visitors. Among the veteran objects gathered for the occasion, there were works that used to belong to Tristan Tzara and other illustrious persons with evocative names. In line with the change in vision that the 1930 exhibition established, they also denote continuity and the idea of imparting collectors’ preferences and know-how, and interest in works ‘‘with a history’’.

As such, Charles-Wesley Hourdé sold two objects whose stylistic equivalents already existed in the selection exhibited at Galerie du Théâtre Pigalle in 1930.

This ambitious project is an invitation to look at such objects differently and to gain a fresh perspective on ‘Negro’ art. As proof of the relevance of the issue and the success of the operation, during the inaugural press conference with Adam Lindemann, the initiative also spurred dialogue on the ‘tribal art’ label. Regardless of whether it is a passion for collection or cause for reflection and research, there is no doubt that the exhibition at Espace Tribal has provided food for thought, both on the practice of art collection itself, as well as on the value and position of these objects transposed into the European art market.

MUSEUMS AND GALLERIES, A COLLABORATION THAT IS MAKING HEADWAY
Art dealers have noticed museum curators’ growing interest in their galleries, going by the number of visits they have recorded.

The spine-chilling selection of objects from Galerie Mingei (Paris), for its theme ‘‘Supranatural. Yurei, Dokuro, Bakemono’’ did nothing to put off visitors and has even benefitted from the hype generated by the exhibition ‘‘Enfers et fantômes d’Asie’’ at Musée du Quai Branly – Jacques Chirac (10 April – 15 July 2018) which had included some artworks from Galerie Mingei.

In another vein, Galerie Abla & Alain Lecomte (Paris) has reported two American museums’ bids on the rare two-faced Toma mask and the Bakongo dog for rather large sums which remain secret. Egyptian art has also been doing well as two American museums have been able to acquire masterpieces. ‘‘These acquisitions prove once again that non-European art continues to fascinate, and with good reason,’’ commented Pierre Moos, Director of Parcours des Mondes.

Two trends therefore emerge in the report on museums based on this 17th edition of Parcours des Mondes.

This spirit of erudition can be felt in the beautiful, skilfully referenced catalogues that embellish themed exhibitions, in objects prized by enthusiasts, for want of acquiring some of these wonders. The high quality of these objects reveals itself both in their visual beauty as much as in their content, as shown in the catalogue of Mingei’s exhibition (Paris), made in a Japanese style with contributions by Christophe Marquet, Director of the École française d’Extrême-Orient (EFEO), Alain Briot, M.D., and member of the Société Asiatique (Institut de France) Kei Osawa - University of Tokyo.

With the retrospective exhibition at the Espace Tribal, they may indicate a change of course in the practice of art collection and how it is viewed, focusing on heritage and historical value, without losing sight of its aesthetic dimension.

TRIBAL COLLECTION AND PASSION UNDER THE SEPTEMBER SUN, A WINNING COMBINATION
According to Pierre Moos, ‘‘all the art dealers were unanimously in high spirits.’’ A general feeling that Yann Ferrandin, who has only praise for this year’s Parcours, confirms, calling it a venue for ‘‘beautiful encounters thanks to all these beautiful objects’’, adding that the quality of the selection and the concept of ‘favourites’ remain the inexhaustible crucible of this event. It is easy to see why: some dealers have sold almost 90% of their exhibited pieces and many gallery owners have sold several important artworks soon after the event opened, followed by steady sales throughout the rest of the fair. By Tuesday, Galerie Flak (Paris) had already sold the sculpture on the cover of its catalogue for the exhibition ‘‘AfriCubisme. Ancient African Art and Cubism cross paths’’ and several major pieces of ancient Eskimo art.

For the moment, no trends are emerging from this edition. Regardless of their specialisation, galleries are revelling in the record attendance and sales of various works, but themed selections seemed to have been the favourites for all visitors. While the gallery Christophe Hioco (Paris) reports that there were sales in every category of exhibited artwork, i.e., Indian art, Gandhara art, and Thai art, Indian Heritage (Paris) has indicated that its Himalayan masks made up the bulk of sales and has announced that it has sold the piece from the catalogue, a major work. A concentration of the same style within a gallery is a supporting element for sales.

As is the case every year, the prices of acquired artworks may range from below €3,000 to several multiples of that, such as the stern of a Maori war canoe sold by Galerie Jean-Baptiste Bacquart (Paris) to an American collector for more than €100,000. For the ‘‘Microcosm’’ exhibition, Olivier Larroque announced a price range of €1,000 to €28,000 inclusive and Indian Heritage (Paris) between €500 and €100,000 for its masks. The huge price bracket shows the event’s ability to keep up with changes in the preferences and dynamics of collections as well as the diversification of collectors’ statuses.

This edition has therefore succeeded in taking the opposite course in a delicate situation where auction houses have intensified the competition. The pieces exhibited appealed to buyers as they were attractive not only in terms of aesthetics, but their price tag as well. Apart from the undeniable quality of the selection, art dealers’ decision to review their pricing in order to offer potential buyers the desired pieces at realistic prices, and scaled to cater to all categories of clients (from a few thousand to several million euros), has therefore paid off.

To paraphrase Galerie Flak, it is highly satisfying to conclude on an ‘‘extremely positive initial assessment for this edition of Parcours’’ consisting of a ‘‘remarkable year in terms of sales, encounters and visitor volume’’ and an ‘‘assessment perfectly in line with previous editions’’, a reflection of the general mood that matched the warmth during the week of the event. We are all now eagerly looking forward to Parcours des Mondes 2019, which will be held from 10 to 15 September 2019. Until then, let us drift through the enjoyable memories, in search of the wonders that lit up the 2018 edition of Parcours des Mondes.