Montreal Museum of Fine Arts | Colombian peoples showing the way

The Montreal Museum of Fine Arts (MMFA) presents this summer the exhibition The universe in the palm of your hands: thoughts and splendours of indigenous Colombia, a new way of considering the art of Colombia. With 400 small ceramic or goldsmith objects, messenger works requiring great technical mastery and which tell a vision of the world and the environment that the West has not yet fully understood…



This exhibition, scenographed with sobriety in several rooms, comes from the collaboration of three museums: the Los Angeles County Museum of Art (LACMA), the Museum of Fine Arts in Houston and the Museo del Oro, in Bogotá. It is also the result of a collaboration with the Arhuaco natives of the Sierra Nevada de Santa Marta, in northern Colombia.

This is the most important exhibition of Colombian art presented outside of this country, thanks to the fact that LACMA received a donation, in 2007, of several hundred Colombian ceramics from a private American collection. “To highlight this collection, LACMA has established a partnership with the two other museums,” says Erell Hubert, curator of pre-Columbian art at the MMFA. Then, LACMA came into contact with the descendants of those who created all these works. »


PHOTO JEAN-FRANÇOIS BRIÈRE, PROVIDED BY THE MMFA

View of the exhibition

There are still more than a hundred indigenous peoples in Colombia. LACMA has chosen to address one of the most active, the Arhuaco, with whom it has maintained a relationship for more than 10 years. “The way we present the works therefore respects the Arhuaco perspective,” says Ms.me Hubert.


PHOTO JEAN-FRANÇOIS BRIÈRE, PROVIDED BY THE MMFA

View of the exhibition

The Arhuaco do not consider their works as inanimate objects, but as living beings that still carry their message. This is the reason why no date of creation of the works is indicated on the labels so that these artefacts are not considered “as tombstones”, says Erell Hubert.


PHOTO MUSEUM ASSOCIATES/LACMA, SUPPLIED BY THE MMFA

Tripod offering bowl with votive figures and emeralds, Cordillera Oriental. Period 800-1600. Munoz Kramer Collection, LACMA.

The exhibition begins with a very small work in gold and copper, a votive figurine in the shape of a man seated cross-legged, which welcomes visitors with open arms. A so-called basket position, still practiced by indigenous Colombians to get into position to receive knowledge.


PHOTO JOTA ARANGO, PROVIDED BY THE MMFA

Mamo Camilo Izquierdo getting ready to do a payment (Ritual of restitution).

Visitors are invited to open up, to accept the existence of another way of seeing the world, a way based on the interdependence of all that exists.

Erell Hubert

The first room invites meditation, with music by Aboriginal elders and words by a mom (spiritual leader) who invite reflection before acting, commensurate with the impact of our actions, to maintain a balance in the heart of our living spaces. All with images shot in the mountainous region of the Sierra Nevada de Santa Marta, in northern Colombia. It is a kind of pause before the visit, to put oneself in a state of introspection which allows to better grasp, according to the Arhuaco, the meanings of their artistic expressions in ceramics and alloys of gold and copper.


PHOTO MUSEUM OF FINE ARTS, HOUSTON, PROVIDED BY THE MMFA

Votive figurine in the shape of a man seated on a stool, Eastern Cordillera. Period 800-1600 (Muisca tradition). Collection Museum of Fine Arts, Houston.

The rooms are a succession of presentations of works from different nations. A presentation with windows low enough to allow children and people in wheelchairs to clearly detail these small, beautifully chiseled objects which are most of the time ceremonial objects. For example, ocarinas, kinds of small flutes of various shapes.


LACMA PHOTO, PROVIDED BY THE MMFA

Ocarina in the shape of a bird, Sierra Nevada de Santa Marta, Period 900-1600. Munoz Kramer collection. LACMA.

Visitors will be surprised to discover the size of the earrings and pectorals, these ornamented jewels that were worn on the chest not only as decoration, but also to transform the body. A use with a spiritual resonance and not purely aesthetic as one might think. Creations that make the link between the territory and its wealth, the action of creating works and the spiritual listening that takes into account the other elements of the Earth, whether animal, vegetable or mineral.


PHOTO MUSEUM OF FINE ARTS, HOUSTON, PROVIDED BY THE MMFA

Breastplate to mythical being (identified as Serankua, the creator), Sierra Nevada de Santa Marta. Period 200 to 900. Museum of Fine Arts, Houston.

While hearing sounds that evoke the jungle, we come across figurative containers, funerary masks and urns, everyday objects such as a grater, stick ornaments, pieces related to the consumption of coca leaves or the fascination for the cosmos, “our home to all”.

Some works

  • Fanged and serpent basket carrier, Calima region, 1500 BC-100 AD (Ilama tradition).  Munoz Kramer Collection, LACMA.

    PHOTO PROVIDED BY THE MMFA

    Fanged and serpent basket carrier, Calima region, 1500 BC-100 AD (Ilama tradition). Munoz Kramer Collection, LACMA.

  • Being with feline and human features, Upper Magdalena-San Agustín Valley, 100s to 900s. Museo del Oro Collection.

    PHOTO MUSEO DEL ORO, BANCO DE LA REPÚBLICA, PROVIDED BY THE MMFA

    Being with feline and human features, Upper Magdalena-San Agustín Valley, 100s to 900s. Museo del Oro Collection.

  • Bird-shaped staff ornament, Caribbean Lowlands, 200 BC-1000 AD. Museo del Oro Collection.

    PHOTO MUSEO DEL ORO, BANCO DE LA REPÚBLICA, PROVIDED BY THE MMFA

    Bird-shaped staff ornament, Caribbean Lowlands, 200 BC-1000 AD. Museo del Oro Collection.

  • Vessel in the form of a standing figure, Calima region, 1500 BC-100 AD (Ilama tradition).  Munoz Kramer Collection, LACMA.

    LACMA PHOTO, PROVIDED BY THE MMFA

    Vessel in the form of a standing figure, Calima region, 1500 BC-100 AD (Ilama tradition). Munoz Kramer Collection, LACMA.

  • Shark, Colombia and Ecuador, Pacific Coast, 500 BC-500 AD. Muñoz Kramer Collection, LACMA.

    PHOTO MUSEUM ASSOCIATES, LACMA, PROVIDED BY THE MMFA

    Shark, Colombia and Ecuador, Pacific Coast, 500 BC-500 AD. Muñoz Kramer Collection, LACMA.

  • The annual cycle of a wild caimo tree [7/14], 2020, Confucio Hernández Makuritofe.  Tropenbos Colombia.

    PHOTO JEAN-FRANÇOIS BRIÈRE, PROVIDED BY THE MMFA

    The annual cycle of a wild caimo tree [7/14], 2020, Confucio Hernández Makuritofe. Tropenbos Colombia.

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“When we think about our questioning about our way of dealing with nature, we have a lot to learn from these cultures,” says Erell Hubert. When we explore the archaeological areas, we find that the biological diversity is much greater there than elsewhere. So human occupation is not a problem, but it is the way in which we occupy the territory that is. The Arhuaco say that we must act to become the ancestors we want to be. »

The universe in the palm of your hands: thoughts and splendours of indigenous Colombiaat the MMFA, until 1er october.


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