(1) Vue de l'exposition "Tatoueurs, tatoués"
(1 à 5) © musée du quai Branly, photo by Gautier Deblonde.
(6) musée du quai Branly. Donation from M. Kanaseki
(7) Courtesy Galerie Gebr. Lehmann, Berlin/Dresden.
(8) From the artist’s collection.
(9) From the artist’s collection, Bangkok. Courtesy Galerie Olivier Waltman.
(10 et 11) © musée du quai Branly, photo by Thomas Duval
(12) © musée du quai Branly, photo by Claude Germain
from 06 may 2014 to 18 october 2015
- East mezzanine
- Collections ticket or twin ticket
- Anne & Julien / Hey !
- Pascal Bagot
- Sébastien Galliot
around the exhibition
Bande-annonce de l'exposition
About the exhibition
The exhibition returns to the sources of tattooing and presents the renewed of this phenomenon in its now permanent and globalised manifestation. In so-called "primitive" societies from the Oriental, African and Oceanian worlds, tattooing has a social, religious and mystical role and accompanies the subject in their rites of passage, including them in the community. Conversely, in the West, they have been seen as a mark of infamy, criminality, a circus attraction (with the phenomenon of side shows) and as a mark of identity for urban tribes.
During the first half of the 20th century, tattooing developed within marginal circles and remained a somewhat clandestine signal until being over-exposed by the media. Today, publicity and fashion take inspiration from these codes. This geographical and antinomian approach is today disappearing: in traditional societies, tattooing has lost its ritual exclusivity; in urban societies and in the "westernised" lifestyle, its marginal character is fading and it is becoming a relatively common bodily ornament.
University researchers have already examined the ethnological and anthropological values of tattooing, before exploring the sociological landscape and psychological meanings. Universities have recently been studying the popularisation of the practice in the urban environment, which establishes the body as a venue for self-affirmation. But the artistic field and that of contemporary history remain to be explored. These are the domains explored by the exhibition, which offers a new illumination on tattooing. In addition to the history of tattooing and its strong anthropological roots, it also emphasises the artistic nature of the practice, exchanges between tattooists from across the world and the emergency of syncretic styles.
Some of the works presented in the exhibition may be unsuitable for viewing by sensitive or younger visitors.
The exhibition in images
(2) Vue de l'exposition "Tatoueurs, tatoués"
(3) Vue de l'exposition "Tatoueurs, tatoués"
(4) Vue de l'exposition "Tatoueurs, tatoués"
(5) Vue de l'exposition "Tatoueurs, tatoués"
The exhibition is divided into five main sections:
From global to marginal
The exhibition begins with a map of tattooed people across the world, showing the vast extent of tattooing from Antiquity to the present day.
Since the Chalcolithic period (3350-3100 B.C.) during which the Europeans appeared to have practised therapeutic forms of tattooing, to the 20th century in which tattooing has become a means of communication, or the sign of membership in a group, through circus sideshows exhibiting tattooed bodies from the 19th century and through the ethnic groups for whom tattooing is an identitary and social marker, the exhibition presents the omnipresent nature and diversity of tattooing practices across the world.
Tattooists, tattooed and significant facts are collected in a chronology, in the style of a wall of fame, and retracing the history of tattooing.
An art in movement
This section evokes the roots of tattooing in three creative areas: Japan, North America and Europe.
In Japan, tattooing was first a punitive tool used by the military powers, becoming discreetly ornamental in 17th century society and reaching its peak in the early 19th century. Tattooing is closely linked to that of engravings (ukiyo-e).
In North America, although tattooing was practised by a few Amerindian tribes, Martin Hildebrandt opened the first official tattooing shop in New York in 1846, and Samuel O'Reilly developed the electric tattooing machine in 1881.
In Europe, we find ancient traces of tattooing among the Romans and Picts, before it was repressed by Christianity until the 19th century.
new skin: the renewal of traditional tattooing
Tattooing for traditional, ethnographic, tribal or magic purposes also underwent a revolution. As a result of constant exchanges originating in the development of transportation and tourism, the practice of traditional tattooing was influenced by a variety of outside perspectives. This section examines the renewal of these practises and their modern developments, concentrating particularly on the new schools of tattooing and the great masters of the following regions: New Zealand, Samoa, Polynesia (the Marquesas Islands, Tahiti, Hawaii), Borneo, Indonesia, the Philippines, Thailand.
new territories of the world
Indicating the dynamism in contemporary tattooing, new schools emerge constantly. In China, blending traditional and current images, the art of tattooing has recently resurfaced; while Latino and Chicano tattooing takes its inspiration in popular Americano-Mexican iconography.
new inking styles
To end the exhibition, eight photographs of tattoos representing a new generation of tattooists illustrate original forms, compositions and characteristics; while the film Mainstream Mode examines current trends.
In addition, 32 works specifically produced for the exhibition are presented:
- 13 tattoos or imaginary projects have been produced by masters of the art – representatives of contemporary tattooing – on volumes representing legs, torsos and arms in silicone ;
- Blank canvases have been given to 19 tattooists from the whole world in order to carry out tattooing projects. In the classic application of the Japanese bodysuit – a costume of traditional tattoos covering the body from wrists to ankles – tattooists have carried out these projects on canvas, with ink, acrylics, watercolours, graphite pencil or felt tip, with more or less realism.