past few months, we are witnessing in Europe a growing interest in Aboriginal art. Museums enrich their collections of contemporary art or art "first" so more or less enlightened. New gallery virtual or "no door" launch multiple exposures coupled with relevant conferences or staggered, and that with varying degrees of success.
houses auction in France Tajan or Gaia, are engulfed with energy ...
Focus groups appear in social networks or on Twitter ...
is undeniable, Aboriginal art is almost fashionable with beneficial and adverse effects. On the one hand, it encourages artists to create works. Any Aboriginal art painting soon found a buyer in Australia, hand hand in the street, across networks or communities in the "temples" galleries.
Canvas documentary for tourists, at work or decorative masterpiece, the distances are nevertheless important.
The results of two auctions illustrate this phenomenon where the best can rub the smallest.
Take for example the house Tajan trying out the Aboriginal art sale in a last March 17. Of 52 paintings of Aboriginal art on offer, only 7 were sold, representing just 13% of the lots. A very bad score. The reasons may be sought in different Directions:
- the absence of clear and serious from the paintings made?
- the unlawful presence of certificates issued by communities of artists?
- a selection of works not always live up to an event like this?
Unlike the auction house Deutscher and Hackett in Australia, was illustrated by a sale Aboriginal art rather remarkable March 24 last, just a week after Tajan. Over 60% of lots were sold, with some records for young artists.
That's what attracted me point particularly with the collection of historical paintings (1972), painters, emerging artists and more experienced. In this range the organizers have brought together the very best in Aboriginal art, with a selection without compromising the sources. I invite you to discover it by following this link .
In recent years, two exhibitions of Aboriginal art sales were also held in Brussels, with success more than mitigated. Barely three paintings were sold at each of these occasions.
Similarly, sales of some galleries have been brought much more (in sales) by the successive acquisitions of the Musée du Quai Branly and the Musée de Lyon Confluence, by buying the few collectors France.
Yet besides this, the contemporary art market is thriving. Certainly he has suffered from the crisis, but the price of the paintings still reaches new highs in comparison to those of Aboriginal art. From then the question arises:
- Is this a misunderstanding against this form of art?
- Lack of cultural references?
- one story that is not ours?
- complexity inaccessible?
- On quartering never resolved in art "ethnographic" and contemporary art?
Beautiful recognition also arrived in the United States with a Aboriginal art exhibition at the MET in New York ago few months, and Europe with some very fine exhibitions at Aamu (Aboriginal Art Museum in Utrecht) the last "Crossing Frontiers" on Paddy Bedford .
Maybe Aboriginal art will not encounter he ever an important market. Too bad or good because first of all what a treat for the eyes, heart and intelligence of the fans.
few winks in the footsteps of a collection. Early balbuciements to greater discoveries. Nomadic peoples, the Aborigines contemporary paintings ... 
