Art Paris: Fragile Utopias with Éric de Chassey

h: How does Art Paris contribute to Paris’s reputation as a cultural hub and global art destination, especially with this year’s thematic emphasis on ‘Fragile Utopias’ and the spotlight on French artists under your curation?

It’s challenging to pinpoint. Paris undeniably was a significant player in the art world in the past, assuming the role of the art world’s epicentre. the current dynamic, more complex, has fostered a thriving community of young artists, with collaborative studios and similar ventures gaining momentum.

What’s intriguing in this context is the constant interplay among art scenes, the art world itself, the art market, and institutional frameworks. Perhaps what we lack, and this is a widespread issue, is a more robust critical foundation – one that evaluates the significance and merit of artworks without immediately fixating on their marketability. However, beyond this common challenge, I find Paris’s current art scene quite fascinating.

Paris offers an alternative perspective to the dominant narratives often seen in the US-centric art system. Despite this, it’s not provincial. The presence of esteemed public institutions like the Musée d’Art Moderne de Paris, Palais de Tokyo, and Centre Pompidou contributes significantly. Additionally, the competition brought about by formidable private foundations such as the Fondation Louis Vuitton and Collection Pinault adds another layer of intrigue. Moreover, there’s a burgeoning network of younger galleries and private initiatives supporting emerging artists, which adds to the city’s vibrancy.

Furthermore, in our current era, where reimagining the future is imperative, revisiting the past becomes crucial. This is where the theme of ‘Fragile Utopias’ comes into play, extending backwards in history to artists like Sonia Delaunay, Maria Helena Vieira da Silva, and Juliette Roche from the early 20th century. Reexamining their work through a contemporary lens can unearth relevant questions and potential answers to our present challenges. However, it’s essential to acknowledge that these solutions are not definitive or authoritative; they’re fragile and open to interpretation. Ultimately, it’s up to us to determine how we engage with them and what we make of them.

h: As an art historian and curator deeply involved in the art world, how do you perceive the role of art in society today, and what impact do you hope your work has on viewers and the broader cultural landscape?

ÉdC: It’s a complex issue. Stepping outside the context of Art Paris, I believe one of the fundamental challenges, especially in Europe but not exclusive to it, is the inundation of images. Many people find themselves overwhelmed by this visual deluge, often losing their autonomy in the process.

Another aspect, particularly pertinent to Europe, is the weight of heritage. We’re surrounded by remnants of the past, which can either hinder progress or serve as a foundation for growth. I view my role as an art historian, curator, critic, or writer as providing the necessary tools to navigate this landscape.

Crucially, I believe in democratising access to these tools, ensuring that all citizens can engage with art meaningfully. Art, unlike the general flow of images and heritage, serves a unique purpose: it exists to question rather than to provide answers. Even when it suggests solutions, these are always provisional, meant to fuel our thirst for knowledge and change.

Despite the challenges, I find art’s relevance enduring. For instance, in my selection process for Art Paris, I predominantly focused on painting, aligning with the fair’s DNA. However, in a different context, this approach might be more diverse.

h: What aspects do you prioritise or focus on when writing presentations for each artist’s work within the theme of ‘Fragile Utopias’?

ÉdC: I’m not entirely sure if I approached this process consciously. I prefer not to impose rigid frameworks. Essentially, I selected artists and artworks based on my affinity for them. For me, art must have the power to move and transform, and I assume this resonance extends to others as well.

Furthermore, I aimed to highlight the connection between imagination and the theme of fragile utopias. However, each artist’s approach is unique, making it a rather nuanced endeavour.

Take Elika Hedayat, for example. Her work is deeply rooted in her experiences as an Iranian woman forced into exile, emerging from a concrete dystopia. She takes elements from this oppressive reality and repurposes them, transforming what was once confining into a space for exploration and reinvention. This process, characterised by interstices and contradictions, fascinates me.

Similarly, Jean-Michel Alberola delves into revolutionary thought of the 20th century, drawing inspiration from Russian constructivism to French situationism. His exploration of failed revolutions raises intriguing questions about hope and melancholy in our contemporary context.

h: Your selection includes artists who may not have received widespread recognition. How do you see this exhibition at Art Paris contributing to the visibility and appreciation of these artists, both locally and on a broader scale?

ÉdC: Art Paris provides a platform for artists who might not otherwise have the opportunity to showcase their work, particularly younger and emerging talents who choose not to be at the centre of the art world.

Take Alice Bidault, for instance. At just 30 years old and fresh out of school, she’s embarking on her artistic journey. What’s unique about her is not only her youth but also her deliberate decision to remain in her rural region of Burgundy, where she practices both art and bio-agriculture. This intertwining of her art and her lifestyle is essential to her work, yet it’s often challenging for artists like her to gain visibility in the art market. Her presence at Art Paris, through her gallery Pietro Spartà in Chagny, allows her to stand alongside established artists, proving her work’s significance.

Another example is Assan Smati, who, despite being in his late 40s, has similarly chosen to live outside the urban art hubs, preferring galleries in Luxembourg and Brussels. While this decision may limit his exposure, it doesn’t diminish the importance of his work. By selecting artists like Bidault and Smati, I hope to shine a spotlight on their contributions and expand their recognition both locally and internationally.