For 20 years, the Parisian has pursued a single goal: making his contemporary art gallery the best while making occasional forays into Old Masters.
What does this anniversary mean to you and how will you celebrate it? It’s a sign of success as well as an opportunity to take stock. Gallimard will publish a book in which people will talk about Kamel Mennour’s 20 years in Paris, and Hatje Cantz will publish a book of pictures. I don’t want to give everything away.
In 2012, you described your gallery as a network between rising stars and well-known artists. Is that still the case? We have quite the coherent stable of artists. The choice of the “Indian Summer” show (editor’s note: presented last month on rue Saint-André-des-Arts) was to show our artists who are between 27 and 40 years old, like Camille Henrot, Latifa Echakhch, Neïl Beloufa, etc. We’re also interested in established talents, like Lee Ufan and Anish Kapoor, and increasingly in artists who have passed, because soon we’re going to work with a new estate. I’d like the gallery to present a survey of a certain history of art, either by focusing on an artist or by placing works by two artists side by side, like we did last June with the dialogue between Caravaggio and Buren. The gallery will move in that direction.
Why display the Turquin cabinet's Caravaggio opposite an original work…
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