Galerie Emmanuel Hervé, Paris

Emmanuel Hervé's space in Belleville is so small that when he is at an art fair his booth is usually bigger than his gallery. But not bigger than his ambition to bring visibility to international artist barely known in France

Galerie Emmanuel Hervé, Paris

What can you tell us about your current exhibition of Derek Sullivan?

This season’s  Derek Sullivan’s exhibition is the third we have held in the gallery. It’s an exhibition produced after a three month residency  in the Cité Internationale des Arts where he developed his idea of modular sculpture based on „Bouquinist structure“, a reference to the antiquarian booksellers on the Seine. It is an exhibition concerning books but without books.

When did you open your gallery, and what motivated you?

I opened the gallery in October 2011 and the motivation was to promote young and established artist not yet well known in France. And barely visible in France.

Ana Mazzei, Desmascarado e Nu, 2016, photo by Aurélien Mole

What brought you to contemporary art in the first place? What is your background?

I discovered contemporary art at school and I studied Fine Arts in „Beaux Arts de Paris“. I started collecting works by my friends from school and producing exhibitions of theirs.

What kind of artists do you represent?

We represent French and international artists who have a shared interest and a comparable concern in the same economy of means in the production of their works.

How do you decide adding a new artist?

Coup de cœur. It’s like love at first sight, you know it when you feel it.

Derek Sullivan, Choices, choices, choices, 2016, photo by Aurélien Mole
Charles-Henri Monvert, Pourquoi pas autrement?, 2015, photo by Aurélien Mole

Your space in Belville is rather small. Why did you choose this space, this neighborhood?

I opened the gallery with only 5.000 Euros, because Belleville was the place to be to have a higher quality among the young galleries and to have the lowest costs in town. I loved the idea of being at an art fair with a booth that’s bigger than the gallery.

Each of your exhibitions is accompanied by an edition by the artist.

When I started to collect I didn’t have  enough money to buy unique works, so this was the starting point of the idea to publish multiples. I love books and editions.

Pierre Paulin, Trop tard, 2016, photo by Aurélien Mole

How is the Paris gallery scene developing since you opened your gallery?

Since I opened the gallery the Parisian scene is growing with new institutions and artists run spaces. There are a lot more young artists working in the city these days.

How do you see the role of a gallerist today?

The most important part of a gallerist’s role is to promote the artists and make them visible on the international art scene.

What are your plans for the future?

Stay with my babies, my two children.