Women in the Arts: Almine Rech – 艺术中的女性:Almine Rech

For our series celebrating the achievements of women in the arts, one of Paris’s leading gallerists, with spaces in Brussels, London and New York, shares her experience of working in the art world.

As you were starting out in the arts, what were the possibilities for mentorship, collaboration and cross-generational engagement among women?

When I was starting out in the 1990s, there were fewer possibilities for women. At the time, there were more men than women in the Paris art world. However, I was lucky to be close to the late designer Andrée Putman: I learned a lot by being in her circle. She was friends with the gallerist Paula Cooper, who she introduced me to, and with whom I had the opportunity to have many conversations. Even though Paula wasn’t living in Paris, and at the time I was not spending enough time in New York to have her as a mentor, I learnt so much from her. Back then, people were not travelling as much as they do nowadays. Suzanne Pagé, who at the time was the Director of the Musée d’Art Moderne de la Ville de Paris, was a role model to me, because of her way of looking at art and understanding artists; an approach that was characterized by a disregard of generational considerations. Her programme took risks with emerging artists and also staged historical exhibitions.

What, if any, were the difficulties of embarking on a career in the arts as a woman?

I can’t say I encountered any difficulty that I was not able to overcome. I was unaware of the challenges which are inherent to art dealing and I ignored the obstacles people warned me about, which were more concerned with more financial matters than with regard to being a woman.

What specific experiences have you had that shaped your understanding of gender in the workplace, the media and the arts?

I think that, instead of pertaining uniquely to the subject of one’s studies and professional experience, it happened that personal questions – in relation, for example, to one’s own family background or private life – which might not have been asked to a man, are often asked of a woman. I have always managed to avoid these questions and change the subject.

What has changed today?

I believe the art world has changed a lot and that people are now far more professional when they approach a woman in the context of the work environment.

What are your thoughts about #Metoo and other initiatives to call attention to sexual harassment?

I think it has been essential to initiate an open dialogue about this problem.

Main image: Almine Rech. Courtesy: Almine Rech Gallery; photograph: Bec Lorrimer

Almine Rech

Almine Rech is the founder and director of Almine Rech Gallery, which has locations in Brussels, Belgium; London, UK; New York, USA; and Paris, France.

Opinion /

Women in the Arts
Almine Rech
Almine Rech Gallery
Opinion
#metoo


为了庆祝女性在艺术上的成就,巴黎的一位顶尖画廊家在布鲁塞尔、伦敦和纽约举办了系列展览,分享了她在艺术界工作的经验。当你开始学习艺术时,女性之间有哪些可能的导师、合作和跨代参与?当我在上世纪90年代起步的时候,女性的可能性越来越小。当时,巴黎艺术界的男性比女性多。不过,我很幸运能接近已故设计师安德鲁普特曼:我在她的圈子里学到了很多东西。她和画廊家保拉·库珀是朋友,她把我介绍给库珀,我曾和他有过多次交谈。虽然保拉没有住在巴黎,而且当时我在纽约的时间不够让她做导师,但我从她那里学到了很多。那时,人们不像现在这样旅行。当时担任巴黎现代艺术博物馆馆长的苏珊娜·帕热对我来说是一个榜样,因为她看待艺术和理解艺术家的方式;这种方式的特点是不顾代际的考虑。她的节目与新兴艺术家冒险,还举办了历史展览。WPAP60300 3BRWPAP60300 3BR,如果有的话,作为女性从事艺术生涯的困难是什么?我不能说我遇到了任何我无法克服的困难。我并没有意识到艺术品交易所固有的挑战,也忽略了人们警告我的障碍,这些障碍更多地关注于经济问题,而不是作为一个女人。你在工作场所、媒体和艺术中有什么特殊的经历塑造了你对性别的理解?我认为,与其说一个人的学习和专业经验是独一无二的,倒不如说个人问题——例如,与自己的家庭背景或私人生活有关的——可能没有问过男人——经常问到女人。我总是设法避免这些问题,改变话题。WPAP60300 3BR WPA60300?3BR今天发生了什么变化?我相信艺术世界已经发生了很大的变化,人们在工作环境中接触女性时更加专业。WPAP60300 3BR WPAP60300 3BR您对“MyoO”和其他注意性别骚扰的倡议有何看法?我认为有必要就这个问题展开公开对话。主要形象:Almine Rech。礼貌:Al.Rech画廊;照片:Bec Lorrimer.Al.Rech Rech是Al.Rech画廊的创始人和主管,该画廊位于比利时布鲁塞尔;英国伦敦;美国纽约;以及巴黎,法国。意见/艺术界的妇女


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