Fondation Louis Vuitton, Lafayette Anticipations, Pinault Collection: foundations and private collections with their grand houses have become an integral part of the French art world. now Cartier faces competition, with two well-known names.
On a rainy autumn day – the art world meets in Paris for the Art Basel fair – Jean Nouvel leads a tour of the building, which he describes as a “refuge of the unpredictable”. The star of French architecture dresses in black. His eyebrows raise into Mephistophelean triangles when he says something crucial.
In the heart of Paris, on the Place du Palais Royal, between the Louvre and the royal residence of the same name, now the seat of the French Ministry of Culture, the new Fondation Cartier, the art foundation of the jewelery company of the same name, is under construction on almost 10,000 square meters. To achieve this, a block of houses was completely gutted; only the facades remained;
The renovation of this mid-19th-century Haussmann-era apartment block, which was converted into offices in the 1970s and long housed a collective of gallery owners and art dealers, is said to have cost 230 million euros.There is no official confirmation of the amount. People don’t talk about money, especially in certain circles.
What is certain is that the Fondation Cartier – the first of what has become a long line of private art foundations in France – is reacting to a movement of concentration towards the city center. After forty years of existence, the first ten years in Jouy-en-Josas, in the west of the capital, then for three decades on Boulevard Raspail (always in a Nouvel building), the exhibition center is now moving to the center of Paris . Next year it will open with an exhibition from the foundation’s collection of 4,500 works.
Chris Dercon heads the Fondation Cartier
During the inspection of the construction site, a tall man with white hair can also be seen. This is the Belgian curator Chris Dercon,who,as director of the Berliner Volksbühne,has been accused of lack of seriousness and gentrification of culture. In Paris he was the discreet director of the national museum association Grand Palais from 2019 until he brutally cut off the organizers of the Fiac art fair hosted in the eponymous building, before eventually taking over the 2022 Fondation Cartier .
Cartier was the forerunner of French private foundations. When it was founded in 1984, Alain Dominique Perrin, the then CEO, had to do pioneering work. It was only almost twenty years later that the Aillagon Law, named after the former Minister of Culture, granted generous tax breaks to patronage. Since then, thanks to the promotion of culture, it has been possible to deduct up to 60% of corporate tax.
Although Cartier played a pioneering role, the foundation was sidelined over the years due to its geographic location, the building’s relatively small size, and new competition. From next year it will be a few steps from the Bourse de Commerce, home to the private collection of the entrepreneur and billionaire François Pinault,
The battle of the foundations can now begin: In the heart of Paris, French billionaires try to outdo each other with gigantic exhibitions and projects and are now overshadowing public institutions.
This is partly due to the age-old rivalry between the breton François Pinault, a self-made man who started out as a timber merchant, and the northern French bourgeois Bernard Arnault, a graduate of an elite engineering school. Journalist Jean-Gabriel Fredet described it in detail in his book “La guerre secrète des millardaires de l’art” (the Secret War of the Art Billionaires). As we all no, competition promotes business, prosperity and, in this case, the ambition to build the best art collection. Pinault is said to contain over 10,000 works, making it one of the ten largest in the world.
Arnault reportedly does not know how many works he owns. However, he knows how to leverage patronage and artist funding for his brands. Arnault is convinced that the global success of his brands such as Louis Vuitton (from which his foundation also takes its name), Dior, Celine, Chaumet and Guerlain, to name just a few, is due to the “cultural references” of France.
The new Fondation Cartier is a superlative project: 8,500 square meters of surface area,of which 6,500 square meters of exhibition space,a block of 150 metres,“the length of the Center pompidou”,Nouvel proudly notes. Paris already owes the architect the Institut du Monde Arabe, the philharmonie and an office tower in La Défense.
pinault,Cartier,Lafayette,the series continues: in 2013,Maja hoffmann,heiress to the pharmaceutical company Hoffmann-La Roche,opened her Luma Foundation in Arles,southern France.In 2014, the Frank Gehry Building of the Fondation Louis Vuitton was inaugurated in the Bois de Boulogne in Paris.In 2018, at the same time as Lafayette, financial entrepreneur Edouard Carmignac opened his art foundation and museum on the Mediterranean island of Porquerolles.
“For a long time the State distrusted foundations, but today it encourages them”, explains Jean-Michel Tobelem, expert in cultural management and museum studies and professor at the Sorbonne in Paris, to the economic magazine “Challenge”. “The public,who was initially skeptical,now sees that private initiatives are more efficient than public cultural institutions,” Tobelem said.
However, billionaire collectors have also helped drive the prices of many contemporary artists’ works to dizzying heights, making it impossible for state museums to acquire them.Successful entrepreneurs who want to remain in the collective memory as philanthropists do not just exist today:
Would American industrialist Salomon R. Guggenheim be remembered without his museums? The same goes for Nissim de Camondo, Émile Guimet, Édouard André and his wife Nélie Jacquemart, Ernest Cognacq and his wife Marie-Louise Jay. Their names have long been synonymous with Parisian museums worth seeing, founded by successful collectors and patrons.
What challenges do private art foundations in France face in today’s cultural landscape?
interview: The Evolving Landscape of French Art Foundations
Interviewer (Time.news Editor): Good afternoon, Chris. thank you for joining me today. As the newly appointed director of the Fondation Cartier, you’ve entered a fascinating yet competitive landscape with private art foundations gaining prominence in France. What do you see as the defining characteristics of this new era in the French art world?
Chris Dercon: Thank you for having me. It’s indeed a thrilling time for the art scene here in Paris. The emergence of foundations like Fondation Louis Vuitton and Lafayette Anticipations signifies a shift towards greater collaboration between private entities and public cultural institutions. The focus is not just on the artworks themselves, but also on how they connect to the community and foster discourse. This “refuge of the unpredictable,” as Jean Nouvel aptly describes it, allows for innovative interactions with art.
Interviewer: Certainly, and with the Fondation Cartier’s recent move to the heart of Paris, how do you believe this centralization will impact its audience?
Chris Dercon: The decision to relocate was strategic. Being nestled between the Louvre and the historic Palais Royal places us among cultural giants, making art more accessible to a wider audience. It’s about creating a vibrant hub where art can thrive and engage visitors from all walks of life. Our new space, which preserves the iconic facades of Haussmann-era architecture, aims to welcome people into a dialog with contemporary art through our collection of 4,500 works.
Interviewer: Speaking of the collection, the renovation cost is rumored to be around 230 million euros. While specifics on finances can be sensitive, what dose such an investment signify for the foundation’s vision?
Chris Dercon: It’s an affirmation of our commitment to art and culture. Investments at this scale underscore the belief in the transformative power of art. We are not simply creating an exhibition space; we are building a platform for cultural dialogue and creativity. The high stakes involved bring a responsibility to deliver meaningful exhibitions that resonate with our community.
Interviewer: You have a history of leading critically important cultural institutions,like the Berliner Volksbühne,and have faced criticism for issues related to gentrification. how will yoru previous experiences shape your leadership at Fondation Cartier?
Chris Dercon: Every experience has been a lesson. At the core, I believe in inclusivity and engagement.My focus will always be on integrating diverse voices and perspectives within the art narrative. Gentrification is a complex issue,but I aim to ensure that the Fondation Cartier not onyl showcases prominent works but also involves the community in our programming,creating a welcoming environment that invites dialogue,critique,and creativity.
Interviewer: That sounds promising. Looking ahead,are there any upcoming exhibitions or initiatives that you’re especially excited about?
Chris Dercon: Absolutely! We’ll be launching with a significant exhibition from our collection,aimed at showcasing both historical and contemporary works that challenge and inspire. we’re also exploring partnerships with local artists and groups to ensure our programming reflects the vibrant, multifaceted culture of Paris.
Interviewer: It sounds like a vibrant future ahead for Fondation Cartier. in your view, how do you see the role of private collections and foundations evolving in the context of art’s global landscape?
Chris Dercon: They will become even more integral. As cultural institutions continue to navigate challenges, private foundations can spearhead innovative practices and reimagine access to art. They serve as vital spaces for experimentation and inclusivity, fostering a culture where art is not just for the elite but is a shared treasure for everyone. The future is shining with collective engagement at the forefront.
Interviewer: Thank you, Chris. Your insights provide a compelling overview of not just the Fondation Cartier, but the future of art foundations in France.We look forward to seeing how your vision unfolds.
Chris Dercon: Thank you for having me. I’m excited to embark on this journey and look forward to engaging with everyone in the art community.