L orsqu’il reprend les rênes d’Art Paris en 2011, Guillaume Piens a du travail. La foire n’a pas une cote formidable auprès des collectionneurs. Il commence par tout remettre à plat et se pose la question fondamentale : qu’est-ce que cette foire peut apporter de différent, comment doit-elle se distinguer des autres ? Guillaume Piens définit alors deux axes qui sont aujourd’hui encore les piliers de son salon. Tout d’abord, Art Paris défendra la scène française, avec un grand nombre de galeries parisiennes, mais aussi régionales, ce qui est une première. D’autre part, dans la même volonté de proposer
autre chose que les artistes dont tout le monde parle, il explore de nouveaux territoires. « Je trouvais que beaucoup de foires se ressemblaient, avec des artistes « mainstream », j’avais envie de découverte et de mélange, proposer un dialogue, une passerelle entre le local et l’international. » Il ouvre donc sa porte à des galeries russes, chinoises, coréennes. « Et nous avons été les premiers à faire un focus sur l’art africain. » Enfin, à partir de 2018, il propose à deux commissaires d’exposition de sélectionner une vingtaine d’œuvres en fonction d’un thème. Les visiteurs sont ainsi invités à suivre un fil rouge qui les mène de
William Piens Talent scout
Over the years, the director of Art Paris has given the fair an identity that sets it apart. Defending the French scene while at the same time offering the opportunity to discover foreign artists, it links home- grown and international talent. By Eric Jansen When he took over the reins of Art Paris in 2011, the fair was not proving to be a resounding success with collectors. Guillaume Piens had work to do, and he set about asking himself the fundamental question: what can this fair offer that can make it stand out from the crowd? He defined two axes which remain the pillars of his salon today. First of all, Art Paris should defend the French scene, with a large number of not only Parisian but also regional galleries Secondly, seeking to offer an alternative to fairs featuring artists everyone was talking about, he explored new horizons. “Observing that there were many fairs that highlighted “mainstream” artists, I decided that we should offer more variety, allying home-grown and international works.” He therefore opened the doors to Russian, Chinese and Korean galleries. “And we were also the first to focus on African art.” Finally, from 2018 on, he asked two exhibition curators to select around twenty works based on a theme, allowing visitors to follow a common thread from stand to stand and thus appreciate the fair in an innovative way. The results speak for themselves. Last year Art Paris welcomed some 80,000 visitors, and this 26th edition brings together 135 galleries from 25 countries. “We received 291 applications, which allows us to pick and choose.” French galleries represent 60% of the whole, and of these 60% come from outside the capital. From Lille, Strasbourg, and Marseille for example and, thanks to Pietro Sparta, even the little Burgundy town of Chagny. This year, the BNP Paribas Banque Privée prize was created to recompense a French artist. Up and coming galleries are also welcome, with an area known as Promesses dedicated to them. “There is a whole new generation of very talented gallery owners. They are growing up with us…” Their elders are also there. Seduced by the fair’s new image and its success, established galleries such as Perrotin, Almine Rech, Continua and Mitterrand have reserved stands. As for
Philippe Cognée chez Templon.
Raphaël Zarka chez Mitterrand.
Patrick Kim-Gustafson à la galerie Marguo.
Chaise de Garouste & Bonetti chez Ketabi Bourdet.
Johan Creten sur le stand Perrotin.
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