NETJETS EU VOLUME 15 2021

INSIDE LOOK
ACROSS THE
CENTURIES
The most talked-about new museum in Paris is an architectural masterstroke in the
heart of the First Arrondissement, a few steps from both the Louvre and the Pompidou
Centre. Showcasing works from the one-of-a-kind contemporary art collection
assembled by François Pinault, the billionaire founder of luxury conglomerate Kering
and Groupe Artémis, the Bourse de Commerce is rich with history: originally the site
of a hôtel particulier for Catherine de Medici, it became a grain exchange in the 1700s
and a stock exchange in the 1800s. Now, under the deft hand of Japanese architect
Tadao Ando, its latest incarnation includes a 32.9m-diameter, three-tiered concrete
cylinder that sits in the building’s grand rotunda – a structure that is removable after
the museum’s 50-year lease expires and which is left open to view the 19th-century
frescoes that have been restored beneath the dome. These paintings depict colonial
scenes, largely focused on the triumph of the French, which the museum curators
have cleverly problematised with installations and art works that respond directly to
racism and colonialism, including works by prominent Black American artists Kerry
James Marshall and David Hammons. Pinault’s collection is anything but traditional:
he embraces provocative pieces, and the more than 10,000 works, by nearly 400
different artists, offer ample opportunities for a range of compelling exhibitions,
examples of which are already on display at his Venice galleries, Palazzo Grassi and
Punta della Dogana, both of which are also Ando-led modernisations of listed edifices.
The museum opened in May, a year later than anticipated, and will feature multiple
overlapping exhibitions all year round. pinaultcollection.com
PAGE 74-75
A 19th-century fresco adorns
the rotunda at the heart of
the Bourse de Commerce,
with Tadao Ando’s new
concrete structure below
PAGE 76-77
Some of the nearly 30
pieces on display by
African-American artist
David Hammons
FACING PAGE
Paintings by Martin
Kippenberger and Florian
Kewer are in dialogue with
sculptures by Thomas
Schütte in one installation
78 NetJets