François Pinault will open a museum in Paris

On Wednesday 27 April, the mayor of Paris, Anne Hidalgo, officialised the installation of the Pinault Foundation in the Bourse du Commerce, in the Quartier des Halles, in the first district of Paris. The Bourse du Commerce is a circular building, built during the 18th century and located rue Viarmes. Formerly used as a wheat hall, it was renovated during the 19th century to house the Chamber of Commerce of Paris. This historic monument will welcome one of the world’s most important collections, according to the longstanding wish of François Pinault to set up in France. Indeed, the collector already tried to open a foundation in Paris, in the former Renault plants on Seguin Island (Boulogne-Billancourt) – a project that was dismissed after years of unsuccessful procedures. Until now, Pinault foundations could be found in Venice, at the Palazzo Grassi and at the Punta della Dogana. The new foundation will benefit from a space of 13.000 square meters, including an exhibit area of 4.000 square meters, which makes it the biggest space dedicated to art collection, before the Palazzo Grassi (2.500 square meters) and the Punta della Dogana (3.000 square meters). The collector, for whom “a museum cannot be a place where we merely show”, also foresees the construction of a vast auditorium. Once again, Martin Bethenod will be entrusted with the administration of this space. The project, the cost of which is estimated at €100 million, will be borne by François Pinault. Four architects will work on the building: Tadao Ando, Pierre-Antoine Gatier, as well as Lucie Niney and Thibault Marca, creators of the agency NeM. The construction work should start in January 2017 for an opening planned in autumn 2018. This new foundation is part of the project for the revitalisation of the Quartier des Halles (Halles...

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A newcomer to the Marais: Pact

Galerie Pact is new to the Marais. In presenting artists who are often unknown in France and Europe, the gallery sets out to be an “epicentre of newness”. With innovative projects and an original exhibition model in the form of a pact signed between artists and creators, scientists or intellectuals, the gallery intends to create a culture venue where different art periods mingle, as well as various fields outside of the art world. The gallery’s founders Charlotte Trivini and Pierre-Arnaud Doucède give Art Media Agency a few more details. Tell us the story behind this gallery… Charlotte Trivini: We are old friends and worked together at Artcurial. We had different backgrounds and parallel experiences, but common interests in terms of artistic tastes. Pierre worked in a gallery in the United States while I was in communications and working for Fiac. In August 2015 we agreed that it was a good time to get started. Pierre-Arnaud Doucède: In August 2015, I was still working at Martos Gallery. That’s when I reminded Charlotte about our plan to work together. My visa was expiring soon and I wanted to go back to Paris, my city, where I learned to love art. Things fell into place fairly quickly. We found the name PACT that comes from our initials Pierre-Arnaud and Charlotte Trivini. It suggests the passé (past) and the actuel (today), and sounds as good in French as in English. The pact is also the relationship that we wish to set up with artists. What exactly is this relationship that you develop with artists like? C.T: There are two aspects. The pact is synonymous with commitment and loyalty. It corresponds with the identity that we wish to develop and the segment in which we wish to be active. We design every exhibition as...

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The Fondation Maeght points to “thought through viewing”

Until 16 May 2016, the Fondation Maeght (Saint-Paul-de-Vence) is hosting the exhibition “Espace, Espaces!” (Space, Spaces!) — a unique rereading of the foundation’s collections by the institution’s director Olivier Kaeppelin. French writer Georges Perec knew a good deal about space. According to this author of Espèces d’espaces (Species of Spaces) — to which the exhibition’s title pays homage —, “the space of our lives is neither constructed nor infinite nor homogenous nor isotropic. But do we know exactly where it shatters, where it curves, where it disconnects and meets up? Our sense of its fissures, hiatuses, friction points is confused, sometimes we have the vague impression that somewhere, something is stuck or breaking apart or banging.” Space is the starting and end point of all artistic creations. Olivier Kaeppelin considers that “what artists create is first of all a space for themselves. We don’t share this space, we penetrate it.” Artists know how to fill in hiatuses, to sublimate friction points, or sometimes, to bang.” The foundation’s visitors are invited to witness these different ways in which artists handle space: the reconfiguration and fragmentation of pictorial spaces, the construction of utopic and intimate spaces — an idea that is not estranged from “Inhabiting the World”, the theme of the 2014 Busan Biennale of which Olivier Kaeppelin was artistic director —, with interest paid to matter and its properties, the distortion of reality and the decomposition of movement. This itinerary through the Fondation Maeght’s collections is also an opportunity for Olivier Kaeppelin to unveil the works recently acquired by the collection. Namely the enormous Wolfgang Gäfgen donation — 40 drawings, five large graphic works and a triptych — or else La Renaissance (2011), an elegant bronze work by Claudine Drai, donated by the artist to the institution. True, the common...

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Michael Candy, winner of the Prix Cube

The 3rd Prix Cube was awarded on Wednesday 12 April 2016 to Australian artist Michael Candy for Big Dipper. The Prix Cube recognises young international digital art creation by singling out a work by an artist under 36 years exploring the theme of interactivity, generativity, the network or Internet. Big Dipper is a luminous mobile sculpture that presents forms inspired by mechanics and biology. The sculpture is suspended while white neon lights swing, suggestive of the movement of a propeller or wave. Born in 1990 in South Africa, Michael Candy left for Australia in 2000 where he graduated in fine arts and industrial design from the Queensland University of Technology. As winner of the Prix Cube, he succeeds Russian artist ::vtol:: and Matthijs Munnik from the Netherlands. The jury of this third edition was made up of Manuela de Barros, philosopher, Mathieu Baudin, director of the Institut des Futurs Souhaitables, Naziha Mestaoui, digital artist, Manuela Naveau, curator at the museum Ars Electronica, and Thierry Voisin, writer, playwright and exhibition...

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New twists in the Prince of Liechtenstein affair

After French justice seized Venus (1531) – attributed to Lucas Cranach the Elder and a work in the Prince of Liechtenstein’s collection – while it was on show at the Caumont Centre d’Art in Aix-en-Provence, fresh doubts have cropped up regarding the authenticity of a dozen other works. The Prince has launched legal proceedings against a French art dealer whose identity reveals anonymous, as well as two intermediaries. The dealer himself claims to have been misled by two intermediaries regarding the real value of a work sold in 2012, and accuses the two men of abuse of trust. The accusation has been denied by the two intermediaries who accuse the dealer of selling the work in January 2013 for € 510,000 before getting it authenticated by two academics. Purchased for €3.2 million in Brussels in March 2013 by Konrad Bernheimer, Venus was then resold in July by Colnaghi, a London gallery belonging to… Konrad Bernheimer to the Prince of Liechtenstein for €7 million. Konrad Bernheimer however denies having knowledge about analyses on the work carried out by Christie’s at the end of 2012, already emitting serious doubts about its authenticity. The seizure, requested by French justice in the context of a criminal investigation, may well be the tree that hides a forest. Several other works in the Prince of Liechtenstein’s collection are suspected of being fakes, namely a portrait by Frans Hals, a David with Goliath’s head attributed to Orazio Gentileschi, or a portrait of Cardinal Borgia by Diego...

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