Sepik: Arts from Papua New Guinea: "The first exhibition in France to be devoted to the arts of the peoples of the River Sepik in Papua New Guinea ... [an] exhibition at the Musée du Quai Branly brings together 230 works from its own collections and from those of 18 European museums." This display of ethnographic art from Papua New Guinea runs from 27 October 2015 to 31 January 2016 in Paris. Image Source: Alambret Communications.
The press release for the exhibition is here.The Sepik is the longest river in Papua New Guinea. It is situated in the north of the island and covers a distance of 1,126 kilometers before it disharges into the Pacific Ocean. Large swampland, since the first millennium B.C. this area has sheltered peoples who live on the banks of or in areas close to the Sepik River and its tributaries. These societies have evolved in a world where every object lends itself to being sculpted, engraved or pictorially represented by animal and human figures or abstract motifs.Sculptures, hooks, necklaces made up of pearl oyster shells, slit drums, bamboo flutes, wickerwork headdresses, coconut bowls, panels of painted bark, modelled-over skulls, whether they belong to the everyday or appear during ceremonies, are adorned with images or signs linked to nature and ancestral figures either human or animal.The exhibition presents the results of 35 years of research led by Philippe Peltier, Markus Schindlbeck and Christian Kaufmann. The pieces presented were chosen for their formal qualities and their ethnographic interests. Some of them are icons of the art of the Sepik. They all demonstrate the great diversity of forms developed and materials used by the inhabitants of the river banks.
As for fantasy, if you want to watch a scary film tonight, I recommend It Follows (2014; see it here); filmed in Detroit, it is original, low-tech, and terrifying. After a one night stand, a teen girl finds herself relentlessly pursued by a dumb entity which can possess those around her. That simple and familiar premise is executed brilliantly, partly because the young characters are trapped in unsettling retro horror time loops. You can see Gen X director David Robert Mitchell explain the opening shot for the NYT, here. Below the jump, see a clip from the film, and a Millennial or Generation Y-oriented analysis of the film.