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| Perrotin Gallery | |
|---|---|
| Name | Perrotin Gallery |
| Established | 1990 |
| Founder | Emmanuel Perrotin |
| Locations | Paris; New York City; Hong Kong; Seoul; Tokyo; Shanghai |
| Type | Contemporary art gallery |
Perrotin Gallery
Perrotin Gallery is a contemporary art gallery founded in 1990 by Emmanuel Perrotin in Paris, notable for exhibiting international contemporary artists and engaging with institutions, biennials, and collectors across Europe, North America, and Asia. The gallery has maintained a profile through participation in major art fairs, collaborations with museums, and representation of artists active in movements such as Neo-Pop, Conceptual art, and New Media art. Its program has intersected with curatorial projects at venues like the Museum of Modern Art, Tate Modern, Centre Pompidou, and the Whitney Museum of American Art while engaging critics, collectors, and cultural institutions.
The gallery was established in 1990 amid the Paris art scene that included dealers and institutions associated with names like Daniel-Henry Kahnweiler, Pierre Cardin, Centre Georges Pompidou, Galerie Maeght, and contemporaries such as Gagosian Gallery, Sprüth Magers, and Hauser & Wirth. Early exhibitions featured artists who later appeared in institutions like Musée d'Orsay, Musée national d'art moderne, Palais de Tokyo, and events including the Venice Biennale and the Documenta exhibition series. Through the 1990s and 2000s, the gallery expanded alongside international art fairs such as Art Basel, Frieze Art Fair, FIAC, Armory Show, and TEFAF, while networking with collectors connected to foundations like the Guggenheim Museum, Ludwig Museum, and private collections influenced by figures such as Peggy Guggenheim and Charles Saatchi. Founding and leadership under Emmanuel Perrotin placed the gallery in dialogue with curators and critics from institutions like MoMA PS1, Serpentine Galleries, Whitechapel Gallery, and media outlets including The New York Times, Le Monde, and Artforum.
Perrotin Gallery operates spaces in major centers of contemporary art including Paris, New York City, Hong Kong, Seoul, Tokyo, and Shanghai. Each location was selected to intersect with regional institutions and cultural events such as the Palais de Tokyo, Brooklyn Museum, M+ Museum, National Museum of Modern and Contemporary Art, Korea, Tokyo Metropolitan Art Museum, and Power Station of Art. The gallery’s openings often coincided with local biennials and fairs—examples include Shanghai Biennale, Biennale de Lyon, Biennale de Venise (Venice Biennale), and Gwangju Biennale—creating programming synergies with municipal arts offices and municipal museums.
Perrotin’s exhibition program spans solo presentations, thematic group shows, and collaborative projects with museums and curators from institutions like Tate Modern, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofía, Whitney Museum of American Art, and Museum of Contemporary Art, Los Angeles. The gallery has shown gallery editions and installations by artists whose work intersects with movements represented historically at venues such as Stedelijk Museum, Royal Academy of Arts, Museum Ludwig, and Fondation Louis Vuitton. Participation in art fairs including Art Basel Miami Beach, Frieze London, FIAC Paris, and Independent Art Fair reinforced its international market position, while commissions and collaborations have connected to curatorial networks of institutions like Smithsonian Institution and private foundations linked to patrons comparable to François Pinault and Eli Broad.
Perrotin represents and has worked with a roster of artists active on the international stage. Prominent names associated with the gallery’s exhibitions include Takashi Murakami, Maurizio Cattelan, Yayoi Kusama, Daniel Arsham, Kaws, JR (artist), Olafur Eliasson, Ai Weiwei, Anish Kapoor, Jeff Koons, Cindy Sherman, Damien Hirst, Yayoi Kusama (again as context of Pop influence), Shepard Fairey, Nan Goldin, Marina Abramović, Andreas Gursky, Gerhard Richter, Tracey Emin, Wolfgang Tillmans, Rirkrit Tiravanija, Takashi Murakami (reference to Japonisme currents), Nari Ward, Chiharu Shiota, Do Ho Suh, Lee Ufan, Zeng Fanzhi, Yoshitomo Nara, Taryn Simon, Ed Ruscha, Robert Rauschenberg, Jean-Michel Basquiat, Brice Marden, Pierre Huyghe, Raqs Media Collective, Danh Vo, Kader Attia, Zhang Huan, Ai Weiwei (repeat to reflect engagement), Maurizio Cattelan (repeat noted for institutional collaborations), Olafur Eliasson (repeat for public commissions), Lee Bul, Cao Fei, Hito Steyerl, Thomas Hirschhorn, Pipilotti Rist, Tom Sachs, Sarah Sze, Kiki Smith, John Currin, Kara Walker, Walid Raad, Toby Ziegler]. The gallery has also supported emerging and mid-career artists who have participated in prize circuits such as the Turner Prize and awards like the Hugo Boss Prize and Praemium Imperiale.
Critics, curators, and collectors have discussed the gallery in contexts involving major museums and media outlets including The New Yorker, New York Magazine, Le Figaro, The Guardian, Los Angeles Times, ARTnews, and Flash Art. The gallery’s exhibition choices have influenced institutional acquisitions at collections like the Museum of Modern Art, Tate Modern, Guggenheim Museum Bilbao, and regional museums such as Museum of Contemporary Art Tokyo and Hong Kong M+. Its market impact is traceable through presence at auction houses and auction results at Sotheby's, Christie's, and Phillips. The gallery’s programming has intersected with curators associated with Theaster Gates-linked initiatives, philanthropic projects like those of Eli Broad and François Pinault Collection, and educational collaborations with universities such as Columbia University, Yale University, and Goldsmiths, University of London.
Perrotin’s high-profile roster and commercial strategy have attracted scrutiny comparable to debates involving galleries such as Gagosian Gallery, Pace Gallery, and David Zwirner. Criticism has centered on issues frequently discussed in public forums like Artforum, The New York Times, and Le Monde—including artist-gallery disputes, market speculation tied to auction houses like Sotheby's and Christie's, and questions about gallery influence on biennials such as the Venice Biennale and São Paulo Biennial. Specific controversies echoed wider sector debates over gallery practices, transparency, and commercial relationships examined by commentators associated with institutions like ICA (London), Serpentine Galleries, and advocacy groups active around cultural policy and museum governance.
Category:Contemporary art galleries