Skip to content
subscribe
Account
SEARCH

Categories

LASTEST

Discussing the Pinault Foundation & the Bourse de Commerce with Caroline Bourgeois

No contributor

The Pinault Collection is celebrating the tenth anniversary of its presence in Venice within its two distinctive but equally impressive venues: Palazzo Grassi (where a Sigmar Polke exhibition is currently on view), and Punta della Dogana (hosting the show “Accrochage”), famous for its unrivaled view over the Queen of the Adriatic Sea. The two Venetian spaces will be joined by the Bourse de Commerce in Paris, which is expected to become a third home to the collection for 2018. The collection’s curator and conservator, Caroline Bourgeois, agreed to talk to Whitewall about her duties and new prospects for Paris.

WHITEWALLER: As the curator and conservator of the Pinault Collection, how would you describe the significance of the collection finding its Parisian home within the Bourse de Commerce in late 2018?

Museum Punta Della Dogana

CAROLINE BOURGEOIS: I think it’s fantastic to have the Bourse de Commerce. It will give a different perspective through time than up to now. And regarding the public, I think it will be another dynamic and a larger audience. The big difference between Venice and Paris is that in Paris you can build a public—it’s not just people passing through—as Venice is a small town. It’s going to be a different audience, a bigger public, and a different kind of dynamic.

WW: The Palazzo Grassi is celebrating its tenth anniversary. What have been for you the highlights over the past decade?

Italy, Venice

CB: I think it’s a perfect place for monographic exhibitions. It’s also a beautiful space in terms of light for paintings, because there’s a deepness. It’s the Venetian light, which is amazing. I think we did great solo exhibitions, from Urs Fischer to Stingel to Raysse and now Polke. These solo exhibits are also a way to show how the collection is involved with the artist. It’s not just to display the collection; it’s to show the artists. So I would target these sorts of shows.

WW: You’ve been a key figure in expanding François Pinault’s collection in terms of emerging artists. When it comes to that type of work, what interests you in particular as a curator?

Photo by Thomas Mayer

CB: I think my job with the collection is to be a perspective. It’s not always a question of being young or old, and it’s mainly western. We don’t pretend to be global. The idea is also to keep François Pinault on his toes. He is a fantastic collector in that sense because he likes to be surprised, or even disturbed. He comes to see the works in the flesh. It’s not someone who’s far from art; it’s really part of his life. He can be super quick in his decisions. Sometimes I don’t understand anything, I must confess. But it’s nice to push the limits.

WW: And when you yourself discover a new artist and discuss it with François Pinault, how does it work?

Caroline Bourgeois

CB: There are a lot of different scenarios. It depends. For example, in the case of Claire Tabouret, I went to an exhibition in Paris and the next morning I told him the show was great. He came two days after and really liked it. It’s important that he sees it, provided he can.

WW: Given the power of the collection and François Pinault himself, are galleries really trying to push their emerging artists on to you, or is it you that go after them?

CB: There are a lot of galleries pushing, for sure, and it’s part of my job to look and answer. But sometimes it’s an artist telling me about another artist. That can happen, too.

 

 

 

To read more, pick up the latest copy of Whitewaller in Paris this week. And for even more insight into FIAC and Paris Art Week, make sure to check out Whitewaller Paris’ guest editor Judith Benhamou-Huet’s website at judithbenhamouhuet.com.

 

 

SAME AS TODAY

FURTHER READING

Louis Fratino Finds Power in Images of What We Love

Louis Fratino spoke with Whitewall about keeping the studio a space free from fear of failure.

The View at The Palm Opens in Dubai with Human-Centric Purpose

Whitewall spoke with John Bricker of Gensler about The View at The Palm in Dubai.

The BMW Neue Klasse Looks to an All-Electric Future

The BMW Neue Klasse is a statement piece for a new era: design language that references classic BMW for its soon-to-be all-electric lineup.

Ludovic Nkoth Searches for Home and Harmony After a Year-Long Residency in Paris

Whitewall's Winter 2024 cover story spotlights the artist just as his time with the L’Académie des Beaux-Arts Residency was wrapping up.

Pharrell Williams Fills First Collection for Louis Vuitton with Joy

Whitewall takes you to the Louis Vuitton Spring/Summer 2024 men's fashion show in Paris, Pharrell Williams's first show for the brand.

Daniel Humm and Alain Ducasse Join For 8 Nights of Culinary Excellence 

Whitewall spoke with Alain Ducasse and Daniel Humm about collaborating on a plant-based menu that appears in New York and Paris over 8 days.

SUBSCRIBE TO MAGAZINE

Kelly Wearstler

THE WINTER EXPERIENCE ISSUE
2023

Subscribe

SUBSCRIBE TO NEWSLETTER

Go inside the worlds of Art, Fashion, Design and Lifestyle.

READ THIS NEXT

Whitewall's Winter 2024 cover story spotlights the artist just as his time with the L’Académie des Beaux-Arts Residency was wrapping up.
Whitewall takes you to the Louis Vuitton Spring/Summer 2024 men's fashion show in Paris, Pharrell Williams's first show for the brand.
Whitewall spoke with Alain Ducasse and Daniel Humm about collaborating on a plant-based menu that appears in New York and Paris over 8 days.

SUBSCRIBE TO NEWSLETTER

Go inside the worlds
of Art, Fashion, Design,
and Lifestyle.