Moos has headed PDM since 2007 when he and his team acquired its predecessor KAOS, which was started five years earlier by Rik Gadella with around 15 mostly Parisian dealers.
Until that time, Moos’ only involvement was as an interested collector. “In 2007, I was contacted by the dealers to develop the concept because, as a shareholder and MD of Tribal Art Magazine, we had the knowledge and contacts to make it an international event.
“We then bought KAOS and renamed it Parcours des Mondes, now known the world over as Le Parcours, while retaining the idea of a fun walk through the fine arts district.”
PDM has grown from the initial 15 to more than 60 exhibitors from all round the world – so what changes have Moos and his team instigated over that time to achieve this expansion?
Among the “numerous important changes”, the foremost, he says, was to tackle the “internalisation”.
“The French dealers wanted to turn in on themselves but, having directed many internationally orientated companies, I convinced them to look out towards the wider world.
“We have also tightened up on the selection of participating dealers (every year we turn down many candidates) and instituted stricter vetting, which delivers credibility to our ambitions to expand without losing the personal touch with our clientele.”
Tribal art has a much higher profile these days and the market and the clientele have evolved and changed over the Parcours’ duration. Moos reckons the keen collectors and connoisseurs are giving way to a younger clientele who require more guidance and advice.
In terms of the market trends, Moos feels the main shift is the increased preference for works from Oceania and south Asia, which he sees as becoming more attractive in terms of age, quality and affordability.
Asked how he thinks things will develop, Moos focuses on the drive to improved knowledge and scholarship. He cites such initiatives as The International Prize for Tribal Art Books (PILAT), created six years ago with Sotheby’s, and the launch of a new site for the Fischbacher bookshop (established in 1972) for all new books on tribal art.
It is a policy that is also pursued through the many specialist articles in Moos’ own magazine. But, he adds, “all forms of media are implicated and will play their part in the future”.