« Pour cela, ce lieu est idéal : nous offrons ici une expérience unique. » Et pour cause. Nous sommes loin de l’ambiance de Bâle ou, dans un autre genre, de Miami et de Los Angeles. D’ailleurs, les exposants de la première édition le savent et ils sont pratiquement tous revenus : Patrick Seguin voisine avec la galerie Kreo, François Laffanour avec Thomas Fritsch, Eric Philippe avec Pierre-Marie Giraud. Sans parler des galeries américaines et milanaises, et des nouveaux venus comme
la Carpenters Workshop Gallery ou Victor Gastou… L’année dernière, l’hôtel particulier avait accueilli plus de 10 000 visiteurs, qui devaient parfois un peu patienter car les salons du XVIII e siècle demandent quelque précaution. Mais les portes-fenêtres s’ouvrent sur un grand jardin, des tables et des chaises, et le restaurant Cova pour commander un verre de champagne… Ça, c’est Paris ! • www.designmiami.com Du 15 au 20 octobre
others exhibiting in smaller first floor rooms. “A challenge in diplomacy” the director of Design Miami admits with a wry smile. But we somehow get the impression that the American took it all in her stride. An iron fist in a velvet glove? According to an exhibitor, that’s not too far from the truth. Born and raised in New York, Jennifer Roberts studied fine and decorative arts at university, before completing a postgraduate program at Christie’s Education, London. On her return to the Big Apple, she first worked in a gallery specializing in 18 th century English silverware, before joining the art magazine Antiques. An experience which encouraged her to launch her own magazine Modern in 2009, in partnership with Ryan Brant, son of renowned collector Peter Brant. “Ryan was also a great collector, particularly of Arts & Crafts and design.” Jennifer then went on to co-direct The Salon fair in New York, before joining the management of Design Miami in 2015. Suffice to say that she is on home turf and knows perfectly well what collectors expect today. She saw the lift-off of the historic design market, but also the growing enthusiasm for contemporary design. “Paris perfectly reflects these two trends and we have the best in both.” She also knows that too many fairs can lead to an overdose, and that you have to stand out so as not to bore enthusiasts. “To maintain a buzz, this venue is ideal: we offer a unique experience.” How true. We are light-years away from the atmosphere of Basel or, in another genre, Miami and Los Angeles. Moreover, exhibitors from the first edition are well aware and almost all have returned: Patrick Seguin rubs shoulders with the Kreo gallery, François Laffanour with Thomas Fritsch, and Eric Philippe with Pierre-Marie Giraud. Not to mention the American and Milanese galleries, as well as newcomers like the Carpenters Workshop Gallery or Victor Gastou... Last year, the private mansion welcomed over 10,000 visitors, and although on occasions some had to wait a while because 18 th century salons can prove tricky to negotiate, with wide French windows opening onto an extensive garden with tables and chairs, and the Cova restaurant to order a glass of champagne, it was all worth the wait... Ça, c’est Paris! • www.designmiami.com From the 15 th to 20 th October
Table basse de Paul László, 1952, Galerie Eric Phillipe.
Lustre de Philolaos, 1962, Galerie Chastel-Marechal.
Sofa Acrostic (Encompass), de Raphael Navot, 2020, Galerie Friedman Benda.
Fauteuil Tridente - P9, de Lina Bo Bardi et Giancarlo Palanti - Studio d’Arte Palma, 1952, Nilufar Gallery.
Pichet anthropomorphe, de Jean Derval, vers 1950, Galerie Lebreton.
Buffet et chaise, de Jean Touret et les artisans de Marolles, vers 1950, Galerie Gastou et Galerie Desprez Breheret.
Bahut En forme, de Charlotte Perriand, 1964, Galerie Downtown.
Bureau de Melchiorre Bega, 1949, Galleria Rossella Colombari.
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