Jalis Vienne : Hello Mr. Mennour. It is an honor to speak with you. Could you tell us about the history and genesis of the Kamel Mennour gallery?
Kamel Mennour : The gallery’s story began in 1999 in a small space on Rue Mazarine, in the Saint-Germain-des-Prés district of Paris. I am somewhat self-taught, as I had never worked in a gallery before, but I had an unwavering desire to work in art and with artists. The gallery has grown steadily to become what it is today: a gallery with four exhibition spaces, participating in the world’s largest contemporary art fairs, and representing about forty artists such as Daniel Buren, Camille Henrot, Anish Kapoor, Alicja Kwade, and Lee Ufan, while continuing to support promising young talents. Additionally, I am actively involved in producing ambitious artistic projects, regularly collaborating with museums to organize exhibitions that allow our artists to realize their wildest dreams.
J.V : How do you approach the success you have today? Do you have a magic recipe for sustaining it with such excellence?
K.M : Thank you for considering my gallery a success. What I see is hard work, an unwavering passion for art, and perhaps a certain audacity. I have never backed down from obstacles, and I have never hesitated to aim high. Another key element, I believe, is knowing how to surround yourself with a good kitchen table. In my case, it’s the artists, institution directors, passionate collectors, and my collaborators who nourish me.
J.V : What would today’s Kamel say to the child he once was?
K.M : I would emphasize the importance of perseverance and staying true to one’s convictions. Growing up in a modest environment, I never imagined I would become an influential figure in the contemporary art world. I would tell him that it is possible.
J.V : How would you describe your relationship with the artists you present?
K.M : The relationship I maintain with the artists is built on trust and commitment. I don’t just represent them; I immerse myself in their projects, helping them bring their most ambitious ideas to life. We’re always in conversation about their work and their artistic vision. This partnership offers them stability, letting them focus fully on their creativity, knowing they have a dedicated and supportive ally by their side.
J.V : Do you observe emerging trends ? How would you define them?
K.M : I observe a growing engagement with social, political, technological, and ecological issues, as well as a desire to push the traditional boundaries of artistic creation. Anything that can nourish creativity and alter our perception of the world excites me.
J.V : What is your opinion on the current market? Which challenges do art galleries face today?
K.M : The art market is constantly evolving, influenced by complex economic, technological, and cultural dynamics. For example, online platforms and social media have transformed how artworks are discovered, sold, and shared. These are fantastic dissemination tools, but they also blur the visibility of the contemporary art market. Today, it is very difficult for collectors, especially those starting their collections, to appreciate the value of a work and its provenance. In my opinion, my role as a gallerist is to be a compass. Collectors know that the artists I represent are significant contemporary artists or emerging talents. This ties into your question about branding. The gallery is a brand, as long as it acts as a referent—not just symbolically or glamorously, but as a trusted reference for its buyers. For them, I want to continue offering a rigorous selection of artists and high-level exhibitions.
J.V : and over the past 10 years ?
K.M : Contemporary art has gained significant popularity and recognition over the past decade. Collectors and institutions have increasingly invested in contemporary art, attracted by its innovative character, diversity, and social relevance. This evolution has shaped a dynamic and constantly evolving artistic landscape, greatly expanding the cultural offerings in contemporary art. This is something to be celebrated.
J.V : Can you tell us about a recent exhibition that particularly impressed you?
K.M : I would mention «Paris 1874: Inventing Impressionism» presented at the Musée d’Orsay. This exhibition celebrates the first Impressionist exhibition exactly 150 years ago. Through it, the curators demonstrate that the artistic scene of the time was not as divided as we tend to believe. It challenges the notion of a strict divide between traditionalists and innovators. The exhibition highlights how history is constantly rewritten over time and across eras.
J.V : What is your relationship with art collectors? Do you have friendly relationships with some of them? Do you know what they particularly appreciate about your approach?
K.M : Collectors play a crucial role in the contemporary art ecosystem, which should not be underestimated. Artists need income and economic stability to think and produce their works, just like everyone else. Often, collectors are passionate individuals who understand the importance of supporting artists by contributing to their material conditions of creation, not just by owning their artworks. The collectors I know are loyal, both to my gallery and to the artists they regularly support. In my approach, I believe collectors appreciate my passion, commitment, and knowledge of the art market. These qualities inspire trust and credibility, and they are the foundation of the lasting and mutually enriching relationships I work to build with collectors, based on respect, transparency, and collaboration.
J.V : What’s hot in art investment strategies today? Do you see any weaknesses or gaps that could be optimized?
K.M : Many investors are drawn to contemporary art due to its growth potential and relevance in today’s world. Works by emerging or established artists can indeed offer interesting returns. However, viewing art purely as a short-term investment overlooks its intrinsic value. Art is not just a consumer or financial product.—it’s a unique form of expression with cultural and emotional significance. What I observe is a shift among collectors towards sustainability and social responsibility in their purchasing decisions. They take the time to understand artworks and connect with what resonates with them. Investment is not their primary motivation; rather, it's about appreciating and supporting art for its own sake.
J.V : What criteria do you consider when deciding to represent an artist? How do you determine that a talent is ready and aligns with your approach?
K.M : There must be a mutual desire to share a part of our journey together. What I can describe are the factors that trigger my desire to work with an artist, or the aspects I evaluate during our initial discussions. Primarily, it is intuition that guides me. Artist’s commitment and passion, their perseverance, the coherence of their work, their ability to self-reflect, and their willingness to collaborate with me and my team.
J.V : Returning to your role, you are somewhat the conductor of the talents you represent. What is the secret to a perfect symphony?
K.M : I fully agree with the metaphor of the gallerist as a conductor. It is a very demanding profession that requires having a clear artistic vision, supporting and developing artists both individually and collectively. The artists I represent have great respect for each other. Promoting diversity and engaging different stakeholders in a rich dialogue is crucial. It’s a delicate but incredibly exciting symphony!
J.V : We often talk about a temporal dialogue between artists. Could you explore this idea and how you observe it as a gallerist? How does this dialogue happen from generation to generation, and what is your role as a gallery to preserve it?
K.M : In my case, fostering dialogue between artists of different generations isn’t just an idea or intention—it’s integral to my programming, a means of discovering or rediscovering artists’ work. For instance, I facilitated a dialogue between Daniel Buren and Alberto Giacometti, Alicja Kwade and Louise Nevelson, as well as pairing the 19th-century painter Eugène Carrière with three very contemporary artists: Camille Henrot, Douglas Gordon, and Christodoulos Panayiotou. This intuitive dynamic sparks fresh perspectives on the works, rendering them highly relevant.
J.V : If you could meet a past artist, who would it be? What would you ask them?
K.M : If I had the opportunity to meet a past master, I would choose Rembrandt because I owe him a tremendous debt of gratitude. It was in front of his Night Watch that I made the decision to dedicate my life to art. Rembrandt remains a fascinating figure for me in many ways. While I have delved deeply into literature about him, such as Simon Schama’s powerful book, Rembrandt’s Eyes, meeting him in person would be an unparalleled experience. I would be eager to gain insight into how he perceived the world, his conscious and unconscious influences, and whether he was aware of the lasting impact he would have on posterity and his own artistic legacy.
J.V : Do you have a mantra or philosophy that guides you daily?
K.M : I would say, «Ici, c’est Paris!», the rallying cry of PSG supporters, and it’s also my city. The one where I chose to exclusively establish my gallery, which hasn’t prevented me from gaining international gallery status.
J.V : Finally, what is your definition of luxury?
K.M : Space is luxury to some, but for me, time is the true icon.
