Céline Poizat: Changing the rules of art

Céline Poizat is in charge of the economic development of cultural institutions and businesses at Nomination. This company specialises in providing a comprehensive online database on BtoB. Nomination detects “business trends” in order to develop the business of its clients and offers a database of qualified contacts to ensure precise communication. A glimpse of the future for cultural institutions? Art Media Agency went to meet Céline Poizat to find out more. How did you come to be at Nomination? I discovered Nomination during my previous work experience at the Palais de Tokyo. I was working in development, mainly looking after sponsorship and partnerships in order to increase the equity of the institution. So we were using Nomination on a daily basis as a platform; it was one of our main tools. Subsequently, Nomination has undergone a restructuring. A new post was open and I filled it. The company needed someone to follow the accounts of the cultural institutions, which were beginning to represent a real hub for the company. This job allowed me to enlarge my view of the cultural sector and of its development strategies. Gathering funds is becoming the crux of the matter for the institutions. That’s basically the conclusion I’ve come to after having met many players through Nomination. The freezing or the drop in budget is an issue that we come back to every year, without fail. The public institutions are on the lookout for private investors and growth representatives; in short, they’re looking for new ways to increase their equity. If I speak about public institutions, it’s because they are the institutions most affected by the budget freeze-they are rooted in a tradition of donations and sponsorship. In this light, a real shift in mentality is currently taking place. That said, the private sector has not...

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My Paintings are a Journey: Interview with Bjørn Strandenes

Bjorn Strandenes is a Norwegian painter, born in 1958. Eventhough he has no longer exhibited in France since 2003, he will return in November 2015 at the gallery Sylvie Le Page. According to the gallery owner, “His paintings are entrenched in the Nordic art movement characterised by the sobriety and the serenity,  they are original in their composition. The artist does not create at the core of cities but choses an exterior point of view. AMA went to meet with this atypical artist in order to get to know more about his painting, which he compares to a journey. Will this be your first exhibition at Sylvie Le Page? Yes, but it is not the first time that I have been to Paris. I have already had an exhibition in 2003. It was an opportunity to discover the city. I wanted to understand the mentality of the country, its culture. I think that an artist must create connections with places which it operates, take the time to get to know them. With my paintings, I look for this: to not rush, create connections. In this sense, each of my paintings is a journey. Recently, I visited many galleries in Paris. What they present is much diversified, but many are happy to show the art “trend”. There is a certain freedom that frees yourself from Sylvie Le Page, and she is very sensitive. I do not want to be guided by the system, or that my works are dictated by the market. For as long as I will work, I will be happy to realise these journeys in an independent way. How do you paint? I look for the light, our light. However, light is a journey. It’s what I try to reproduce, layer by layer, with my paintings. Generally, I have a...

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A New Perspective on the Asian Art Scene in Paris: An Interview with Alexandra Fain, co-founder of Asia Now

Let’s revolt against the stereotypes and the outdated clichés! Head to Asia Now, the brand new and first Parisian fair dedicated to Asian contemporary art. From 20 to 22 October 2015, Alexandra Fain, co-founder and director of the fair, invites us to discover a very specific selection, far from the clichés too often associated with this bubbling and yet little known art scene. After its first opening, (which took place during the 56th Biennale de Venise in collaboration with the DSL collection and The Art of this Century), the fair settled in the Espace Pierre Cardin. It offers a rich programme of talks, (with the experts in the field, about groundbreaking projects, supported by the galleries involved), offering the visitor the chance to discover around twenty handpicked projects. Art Media Agency went to meet Alexandra Fain, who passionately unveils the hidden secrets of this voyage to the Orient. Why Asia? It all stems from my frustration at not seeing enough of the Asian art scene which is still relatively unknown in Europe. The region is particularly well-known as a thriving art market but the art scene itself is much less well-known. The young Asian generation, be they Chinese, South-East Asian or Korean, are prolific, dynamic and greatly supported by galleries who are doing tremendous work. These galleries act like true curators holding a long-term vision, of course building up links with collectors but also arranging meetings with public institutions to showcase the Asian art scene. How was this adventure born? It all happened in 2010, while I was in Shanghai for the universal Exhibition. There I met Ami Barak, while he was curating the exhibition “Art for the World (the Expo)” and who was doing incredible work there. Over the next few days, his closest collaborator, Karen Levy, organised...

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The language of watercolour: An interview with Bera Nordal

Situated in Skärhamn on the island of Tjörn, Sweden, Nordiska Akvarellmuseet (The Nordic Watercolour Museum) occupies a place both on the desolate coastal edge of the rugged Scandinavian landscape and at the cutting edge of the Nordic and international art scene. Incorporating a collection of classic watercolours works with a progressive spirit and passion for education, the museum has continued to expand and flourish since its opening in 2000. Bera Nordal has been at the healm of the institution since its beginning, having previously served as director of the National Gallery of Iceland and Malmö Konsthall, Sweden. AMA went to meet the woman painting a language in watercolour. The museum is celebrating its 15th anniversary this year. How do you think it has developed and what has it achieved since its opening in 2000? I think it has grown steadily since the opening; the museum is located in a very special place being in the country rather than in the center, and the content itself is also very special. What we’ve been doing over these years is building and securing the ground for the different sections of the museum. And I feel that now we have come quite far-now we have a good mix of international and Scandinavian works for our exhibition program. We also focused on the educational program from the beginning, and have gradually built up a collection. Straight away, the main focus was the dialogue with the public-it was very important that we took that decision from the beginning. And concerning watercolour in particular, how would you say that perceptions of the medium have changed over time? What is contemporary watercolour? Well you can look at it, of course, just in a very classical way-the paper, the pigment and the water-but for us, it’s also about the...

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Isabelle Capron: The Narrow Escape of a Collector

Collector and international vice-president of the clothes brand ICICLE, Isabelle Capron is a figure of fashion and of luxury as well as one of the twelve participants of the exhibition “Femmes de tête, Femmes esthètes”, at the Vitrine am (Paris) from 13 October to 11 December 2015. On this occasion, Pascale Cayla and Virginie Epry, founders and directors of this hybrid exhibition space, proposes twelve eyes of collectors through twelve artists chosen by her to represent their learning. “Femmes de tête, Femmes esthètes” is the first edition of an annual cycle of exhibitions of woman collectors of all cultures and of all countries. With the Black Energy (2007) of David Malek, Isabelle Capron delivers a part of herself than Art Media Agency went to obtain. Can you introduce your background? I have worked for more than 30 years in this domain of creative businesses. After my studies at the Beaux-arts, I re-joined HEC. I define myself as a businesswoman, creator of the universe for brands. For example, with Fauchon- of which I was general director from 2004 and 2012-, I performed a total repositioning of the brand through a strong artistic dimension. On this occasion, I appealed to different talents, be they architects, artistic directors, and graphists to entirely renovate the general design of the brand.   What is the place of art at ICICLE ? Firstly, the very pretty building – beginning of XXth century – of which we work in. It houses a design centre, with a fashion studio and a sewing shop. This consists the point of departure of an international expansion, with a showroom project and the extension of offices. It’s therefore a project fairly innovating. For instant, we do not have many works of art on our walls but the directors of ICICLE actively promote...

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