2022.10.12
Creators of Beauty ① Almine Rech, a Parisien gallerist
Amorepacific has been devoted to ‘contributing to humanity by creating beauty and health through technology and care.’ This vocation changed over time. Now, as part of our mission to “make A MORE beautiful world,” we are committed to discovering more unique forms of beauty and their potential. At Amorepacific, we are taking one step at a time to create a world of New Beauty, where everyone is encouraged to discover and appreciate their own true, natural beauty. There are people who share a similar path. News Square interviewed women who are creating a more beautiful world in different corners of the globe.
News Square's special project, Creators of Beauty, meets with people who are creating a more beautiful world, from a Musée d'Orsay curator specializing in 19th-century art, a principal dancer at the 350-year-old Paris Opera Ballet, to a founder of a fashion brand...
First up is Almine Rech, CEO of Almine Rech Gallery, which is a place that introduces contemporary artists in its seven exhibition spaces in major cities, such as Paris, London, Shanghai, and Brussels.
News Square's special project, Creators of Beauty, meets with people who are creating a more beautiful world, from a Musée d'Orsay curator specializing in 19th-century art, a principal dancer at the 350-year-old Paris Opera Ballet, to a founder of a fashion brand...
First up is Almine Rech, CEO of Almine Rech Gallery, which is a place that introduces contemporary artists in its seven exhibition spaces in major cities, such as Paris, London, Shanghai, and Brussels.
I believe beauty has two aspects: internal beauty derived from within one’s existence and external beauty derived from the outer form. However, without the beauty from within, external, figurative, and conventional beauty is as fragile and vulnerable as it can be.
- Almine Rech on her definition of beauty… ＜from the interview＞ -
- Almine Rech on her definition of beauty… ＜from the interview＞ -
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Creators of Beauty
Almine Rech, a Parisien gallerist
In 1989, barely anyone in Europe paid attention to American conceptual artists, such as James Turrell, John McCracken, and Joseph Kosuth. Almine Rech, who introduced these artists at this time, has since established her name in the European contemporary art scene. Almine Rech Gallery has several s in major cities around the world. Among all the mega galleries that boast of having a strong lineup of artists, Almine Rech has positioned herself as providing unique exhibition spaces whose diversity and depth are easily demonstrated by their October and November programs, including exhibitions featuring Alexandre Lenoir in Shanghai, Nathaniel Mary Quinn in London, and Calder in Matignon in central Paris. From the Le Corbusier exhibition in New York, the Madelynn Green exhibition in Brussels, to the Vaugh Spann exhibition in its Paris Marais , artists from the 20th and 21st centuries is meeting with art lovers in Almine Rech’s global branches.
Portrait of Almine Rech
Courtesy of Almine Rech - Photo: Jouk Oosterhof
Almine Rech is a female gallerist known for her rare success story in the contemporary art world, which is mostly dominated by male gallerists. Since Paul Durand-Ruel, the famous art dealer who introduced the school of impressionism in the early 20th century, the profession of a gallerist has traditionally belonged to men, which has continued to remain the same even now. In this article, Almine Rech answers a few questions about the role of a gallerist and how she managed to become one of the most well-known gallerists in the world.
Q.
You are the founder and owner of an internationally renowned art gallery.
What does your job as a gallerist entail? What do you think the role of a gallerist in the art market is?
The roles of a gallerist are very diverse, the most important of which, I believe, is discovering new artists. A substantial part of my job involves going to an artist's studio and talking to him or her, constantly asking myself if the artist and our gallery will be a good match. I take part in every aspect of gallery management, from selecting works for art fairs to deciding how the works will be installed at the booth. Many collectors in the contemporary art market have tastes and insights that are as keen as those of a gallerist. Gallerists should always have collectors and museums in their minds as they are constantly monitoring galleries that they can relate to. So, curating an exhibition program that may arouse their interest is the most important part of my job.
Q.
How does it feel to have a gallery named after you?
What kind of gallery do you see Almine Rech becoming?
Almine Rech Paris, Matignon, 2022
Courtesy of Almine Rech
The only reason I put up my own name was that I failed to think of anything else. It was a little awkward at first, but I got used to it over time. I want the Almine Rech Gallery to become, among other things, a gallery that brings together great programs that represent the 20th and 21st century contemporary art scene. I hope the gallery’s exhibitions continue to be free of any artificial boundaries, such as genre or generation, and to be a place where artists are supported and defended of their visions.
Q.
How do the work of museum curators and that of gallerists differ in today’s art world?
Almine Rech Paris, Turenne, 2021
Courtesy of Almine Rech - Photo: Rebecca Fanuele
In the past, museum curators and gallerists were two completely different professions. The main focus of museum curators has long been limited to classic artists. Today, however, I believe the two professions are sharing an increasing number of similarities. Museums are paying greater attention to contemporary artists. Nonetheless, there are still differences that separate the two professions, such as the speed and rhythm of the job. Projects by museums are usually more time-consuming, expensive, and relatively larger in size compared to exhibitions in galleries. Museum exhibitions tend to have a bigger impact on popular culture.
Q.
Many gallerists in Europe tend to inherit galleries as a family business. So it comes as a surprise that this wasn’t the case for you. How did you first become interested in being a gallerist?
Portrait of Almine Rech
Courtesy of Almine Rech - Photo: Léa Crespi
I have loved art since I was little. I remember giving my utmost at drawing and painting classes. I was fortunate to have spent my childhood in Paris seeing the works of masters, such as Leonardo da Vinci and Rubens at the Louvre, admiring the wonderful sculptures displayed in Parisian parks, and being able to visit contemporary art museums whenever I wanted. Art wasn’t my only passion; I was also deeply intrigued by the world of film, and I still am. There was a time when I wanted to pursue a career in film as I engrossed myself in movies at the Cinematheque library in Paris. I wanted to be an artist. But then I realized how lonely that profession could be; I would have to isolate myself while creating works, enduring utter solitude, from the moment of inspiration to completion. Sacrificing yourself to that extent is never easy. However, I still wanted to remain in the realm of art, which is why I chose to become a gallerist.
Q.
Recognizing artistic value and discovering new artists does not seem like an easy job. Do you believe you were born with an artistic eye, or do you believe it’s something that can be earned with training?
I believe some people are born with an artistic eye. But it’s also something that can mature with training. Yes, it requires innate talent, but above all, you need an undying interest in art, not to mention a tremendous amount of time and effort that needs to be put into studying a lot of works of art. It’s not much of know-how, but if you spend enough time studying art, you will one day be able to have an eye to distinguish an uninteresting piece of work from a captivating one. Once you have that artistic eye, then you can continue to train yourself to recognize those works that have value, that are worth presenting to the world, even if it means risking failure.
Q.
Artists are known for their aloofness. Some of them have peculiar personalities and charisma. You have maintained a strong friendship with James Turrell, your first exhibition artist. Do you have any tips on dealing with artists?
It’s really simple! Just being down to earth. Understanding each other comes naturally with sincerity.
Q.
What is the secret to being a successful, one-of-a-kind gallerist?
The most important thing is to keep paying close attention to the great artists by constantly visiting museums, galleries, and ateliers without losing contact with art. In other words, being forever curious and passionate, which is much easier said than done.
Q.
Which moment, out of your successful 30-year career, would you say was the most memorable?
James Turrell, Prado, Red, 1968 - Light Projection piece / ©James Turrell
Courtesy of the Artist and Almine Rech - Photo: Rebecca Fanuele
My first exhibition with James Turrell has to be the most memorable. Turrell's work explores how to recreate the effect of light. So, exhibiting his works requires installing lighting. Back then, Turrell was not as famous as he is now. Moreover, it was not a popular painting exhibition. It’s no wonder everyone around me said that the exhibition would be a failure. (In 1989, Almine Rech introduced Turrell's lighting work for the first time in Europe. This was Almine Rech's first exhibition. Even art admirers were surprised by the space filled with light with nothing on the walls.) Looking back, my first encounters with all the works that I fell in love with have always been memorable. Those moments include times when I first met the works of artists such as Franz West, Richard Prince, Jeff Koons, Huang Yuxing, Ha Chong-hyun, Kim Tschang-yeol, and Kim Min-jung.
Kim Tschang-Yeul, Waterdrops, 2002 -
Oil and acrylic on canvas - 80 x 80 cm, 31 1/2 x 31 1/2 in / © Kim Tschang-Yeul
Courtesy of the Estate and Almine Rech - Photo: Kitmin Lee
Ha Chong-Hyun, Conjunction 21-58, 2021 -
Oil on hemp cloth - 91 x 73 cm, 36 x 28 1/2 in / © Ha Chong Hyun
Courtesy of the Artist and Almine Rech - Photo: Melissa Castro Duarte
Minjung Kim, The Street, 2022 -
Mixed media on mulberry Hanji paper - 91 x 140 cm, 36 x 55 1/2 in / © Minjung Kim
Courtesy of the Artist and Almine Rech- Photo: Hyun Jun Lee
Q.
Almine Rech was one of the galleries that participated at the first Frieze Seoul, which was held a while ago and ended with great success. What are your thoughts on Frieze Seoul? Do you believe that Seoul has the potential to emerge as a major city influencing contemporary art?
It’s difficult to predict what will happen in the future. But seeing that Frieze Seoul was such a huge success, I can say that the event was an opportunity for Korean collectors and art agencies to convince the international art world of their potential. The fair was also a gateway to discovering several amazing Korean artists. Personally, I believe Seoul will be able to secure a place on the global art map.
Courtesy of Almine Rech – Photo:Lea Crespi
＜FRIEZE SEOUL INSTALLATION VIEW 2022＞
Q.
What projects await the Almine Rech Gallery going forward?
In 2023, we plan to open a second New York gallery in Tribeca. (Currently, Almine Rech has three s in Paris and one each in Brussels, London, New York, and Shanghai.) I also want to continue working with the Korean art scene in one way or another, which is why I recently hired a Korean director. We would like to have an opportunity to look closely at Korean artists while continuing to meet with Korean art officials.
Q.
Gallerists and artists both seem to be searching for their own definition of beauty, if they have not found it already, that is. It could be an attitude that evolves with time, a pursuit for extraordinariness, or the convergence of external beauty and internal beauty… Please share with our readers your definition of beauty.
I believe beauty has two aspects: internal beauty derived from within one’s existence and external beauty derived from the outer form. However, without the beauty from within, external, figurative, and conventional beauty is as fragile and vulnerable as it can be.
Q.
Lastly, is there anything you would like to say to those young people who dream of becoming gallerists?
Remember to tend to your passion for art. Remember to not lose it. The world of gallerists is a world of competition, but it is also a world that’s always open to new talents.
※ Written by: Writer Lee Ji-eun
Editor: Journalist Ahn Dong-sun
Editor: Journalist Ahn Dong-sun
All interviews and manuscripts are copyrighted by News Square.
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