French gallerist Bernard Vidal opened Galerie Vidal-Saint Phalle in 1990 at the age of 40 in the heart of Paris’s gallery district where it remains to this day. He opened the gallery with the intention of presenting foreign artists who are well known in their home countries to a French audience; and 25 years on, Vidal’s reputation for exhibiting artists for the first time in France who have then gone on to achieve greater success is evidence that he has achieved his goal.In celebration of the 25th anniversary of Galerie Vidal-Saint Phalle, Vidal has written a book about his experiences as a gallerist and art dealer. Simply titled “Le Galeriste,” the series of anecdotal texts brings the reader into the world of contemporary art, taking them from art fairs, to galleries, to artists’ studios and collectors’ homes, with a cast of characters that includes joyous and temperamental artists and capricious collectors.On the occasion of the launch of “Le Galeriste,” BLOUIN ARTINFO spoke to Bernard Vidal and asked him a few questions about the gallery, his experiences as an art dealer, and his new book.2015 is the 25th anniversary of the opening of Galerie Vidal-Saint Phalle. What was the catalyst for the launch of Galerie Vidal-Saint Phalle in 1990 and what was your vision for the gallery?I founded the gallery 25 years ago with the main idea of showing contemporary European painters who are unknown in France and who I thought were of great interest. A purely immodest (or naïve) impulse. Some were already prominent in their country, some were just emerging.I never believed that painting was a thing of the past or that painting has something special in itself as a medium, except its long history. There is nothing worse than a bad painting, except maybe bad poetry, and if I show paintings it’s because I personally like this medium.The long-predicted “death of painting,” so favoured by some French institutions, seemed to me rather “bourgeois” (in their pretense to appear “modern”… as if there were some kind of “progress” in art).You have just released a book on the contemporary art world titled “Le Galeriste.” What motivated you to launch the book and what does the book convey?An art gallery is a very good place to see how people react, express their feelings, show their passion, their weakness, their mistakes…or not. A gallery is an excellent balcony to see at work la comédie humaine.Contemporary art is a challenge. In twenty years maybe 80% of the artists praised nowadays will have disappeared from the art scene. If you do not believe that, just browse through the art magazines of the past… To build an art collection you have to exercise your eyes and/or trust your vision and stay at a certain distance of the current fashion. This way, your mistakes will only be your own and you may even have some nice financial surprises…What would you say have been some of the most significant and memorable achievements of the gallery over its 25-year history?Over time I became friendlier with my clients than I might have thought but less friendly with the artists than I expected. However, my admiration for them grew significantly. What an ordeal you have to go through to become a good artist: the long hours, the persistence, the loneliness! An artist’s studio is not a cosy spot for talented amateurs.Galerie Vidal-Saint Phalle is known for bringing foreign artists who are well known in their home countries to a French audience. What challenges have you had to overcome to achieve this goal?I had to exercise some social skills (which unfortunately I don’t have in abundance) and then begin to sell…What have you learned about art and the contemporary art world during your time as a gallerist that has helped shape the way you run and manage the gallery?There is no moral involved in an artist’s success, and sometimes the talent is not just enough. Some artists are lucky, others are not.The wheel of fame turns faster and faster.It is better for an artist to gain recognition during his lifetime than to count on it after; but it is never too late. I met a photographer who became famous at 80 years old and refused to die: “I have waited too long…” she said.
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