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Hotel Lutetia: Dress by Giles Deacon, price on reqeust (POR); gloves, £115, Sermoneta; cuff, £375, and bangle, £395, both Burberry Prorsum 86 METROPOLITAN
Christie’s and Sotheby’s are ramping up their Paris post-war and contemporary lots after the buzz of events like last year’s lavish sale of the Yves Saint Laurent estate, so FIAC is increasingly tempting galleries with works by contemporary heavyweights. “We’re also getting a lot stronger in emerging artists,” adds Flay, citing the addition of the Lafayette sector in the Cour Carrée, which displays works from 16 galleries under 10 years old. The city’s public acquisitions remain formidable: the Ministry of Culture and Communication’s national contemporary art collection buys works totalling €450,000 every year. “We also have great private collectors,” says Flay. “The two greatest in the world in Arnault and Pinault.” The CEOs of the luxury goods conglomerates LVMH and PPR are both billionaires who symbolise a revival of the private sector, which is likely to have tempted the canny Gagosian. Unlike in London, the collecting base is diverse. “The fi nancial world is very marginal,” explains Flay. “Here it’s the liberal arts, the luxury sector, old family fortunes.” With more patrons displaying their collections following in the steps of Maison Rouge founder Antoine de Galbert, a new alliance has helped restore the balance of power to the city’s art scene and moved it away from the image of a state-run plaything. To the west of the city, the dynamic contemporary art museum Palais de Tokyo (50 per cent owned by the state and 50 per cent funded by private sponsors) has just escaped such a fate – unlike the Pompidou, whose collection has been sidelined by the massive 2012 expansion into the 9,000 square metres currently lying dormant in the Palais de Tokyo’s basement. Although the new space will be presided over by the government, current Palais de Tokyo director Marc-Olivier Wahler is more excited than worried about this rare autonomy. “Of course they have an eye on it,” he admits, inscrutable behind his aviators. “They want a focus on French mid-career artists. But there are so many who haven’t had retrospectives here, Phillip Maillot for example. There’s a lot to be done.” Since arriving in 2006, Wahler has worked on transforming the site into the multi-faceted marketplace originally envisaged by architects Lacaton Vassal. Replacing museum catalogues with the glossy Palais magazine, he’s also kept up the midday to midnight opening hours and built on money-spinning ideas, from the hairdressing salon and profi table restaurant to the lucrative rental of non-exhibition spaces for fashion shoots. Buoyed by such activities, the Palais’s main remit is to nurture emerging art, and a long-held desire of Wahler’s was to collaborate with Fabrice Hergott, director of the adjoining city-run Musée d’Art Moderne baissé. « À la FIAC, les œuvres partent à plusieurs millions d’euros et ça ne surprend personne », reconnaît Jennifer Flay. Mais, comme Christie’s et Sotheby’s mettent l’accent sur leurs lots parisiens d’après-guerre et contemporains, après l’effervescence due, par exemple, à la somptueuse vente Saint Laurent l’an dernier, la FIAC tente de plus en plus les galeries présentant des poids lourds contemporains. « Nous devenons aussi bien meilleurs sur les artistes émergents », ajoute-t-elle, citant l’addition du Secteur Lafayette dans la Cour Carrée, qui présente 16 galeries de moins de dix ans. Bien que les achats municipaux restent impressionnants, les acquisitions par la collection d’art contemporain du ministère de la Culture et de la Communication se montent à environ 450 000 € chaque année, « nous avons aussi de grands collectionneurs privés, dit-elle. Les deux plus grands, Arnault et Pinault ». Les PDG des groupes LVMH et PPR sont tous deux milliardaires et symbolisent un retour du secteur privé à même de tenter le rusé Gagosian. Contrairement à Londres, les collectionneurs sont d’origines diverses. « La fi nance est très marginale, explique Flay. C’est le milieu de l’art, le secteur du luxe, les vieilles fortunes de famille. » De plus en plus, ils exposent leur collection à l’instar du fondateur de la Maison Rouge, Antoine de Galbert, et un nouvel équilibre des forces s’est instauré sur la scène artistique parisienne, la sortant de son image de jouet dans les mains de l’État. À l’ouest, le dynamique Palais de Tokyo (50 % à l’État, 50 % fi nancé par des mécènes privés) vient juste d’échapper à cette destinée, contrairement à Pompidou relégué sur la touche par l’aménagement, prévu pour 2012, de 9 000 m 2 actuellement inutilisés au sous-sol du Palais. Bien que ce nouvel espace tombe sous la houlette du gouvernement, l’actuel directeur, Marc-Olivier Wahler, METROPOLITAN 87
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September - 2010 - Septembre THE FA
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