François Pinault at 84 years of age is a world reference in art collecting and undoubtedly the most important art collector in Europe with more than 10,000 works, (whose value has been estimated at more than 1,500 million euros).

The collector who is also the owner of Christie's, the world's first auction house, will inaugurate on May 22, after some delays due to the pandemic, the largest private museum of modern art  of France (see previous articles here),  some 200 works by 30 artists, in the space of the former Stock Exchange of the 18th century, in Paris. A controversial and very impressive renovation by Japanese architect Tadao Ando.
The opening of the "new museum of the Pinault collection" designed by Tadao Ando, ​​is accompanied by a great and long expectation, since since 2001 Pinault wanted to create a space in Paris that would house his interesting collection, (more than 10,000 works valued in about 1,500 million euros, with a generous strategy of loans) that already has two other spaces in Venice, inaugurated in 2006 and 2009, as well as other satellite spaces.

To this is added, his consideration as a fundamental "guru" in the art world, because in addition to being the owner of Christie's, his personal fortune (estimated at close to 32,000 million euros), allows him a comfortable watchtower and influence, on the economic oscillations of this microcosm and influential economic market (According to some unofficial estimates, since 2000, it would have bought 9,571 works and sold, with their respective capital gains, 192).

Throughout this process, another of the important agents that is the protagonist in the inauguration is the Parisian city hall (which in 2015 provided this unique location), which will benefit doubly, thanks to 15 million euros per year for the first two years (and later with a high percentage), and incorporating a new tourist attraction to the city's heritage.

And finally, the factor without which none of the above would make sense and that should not be forgotten, are future visitors, the public. Tickets for this upcoming opening weekend with free access, sold out in just over 30 minutes.


Sketch by Tadao Ando.


The space and the collection

The perfect cylinder introduced by Tadao Ando in the cylinder of the Stock Exchange dazzles the visitor, at the same time that he raises agreements and disagreements due to the radical nature of the intervention.

The central space impresses with its dome, whose friezes and murals have been restored. The intervention of the Japanese has created a passage that internally surrounds the rotunda and facilitates a visual approach to the 19th century structure (whose façade, mosaics, and carpentry have also been restored). 24 showcases have been preserved, as a souvenir of the Universal Exhibition of 1889, which are occupied by the artist Bertrand Lavier. The collector explains how he chooses his works.

The works that the visitor will be able to see from next Saturday are curated by Pinault himself, who has focused the themes on currently relevant themes such as: diversity, gender issues, race issues, in Gallery 2, where highlights the work of David Hammons, an artist little known in exhibitions and who presents 30 works, half of them never shown, not even in the United States, so the exhibition is an event in itself. Photography finds its space in Galerie 3, where works from the avant-garde of 1970 meet, with works by Martha Wilson, Cindy Shermann, Sherrie Levine.
 
The intention has been to present sets of works and not isolated works.

Rudolf Stingel, collected by Pinault for more than twenty years, occupies La Galerie 4. In Galeries 5, 6 and 7 whose spaces play with architecture and its exterior (in a window the neighboring Center Pompidou is cut out) the painting is presented figurative: with examples from Marlene Dumas, Thomas Schütte, Miriam Cahn, Florian Krewer, Xinji Chen, the Brazilian Antonio Oba or the thirty-year-old Ser Serpas. The Auditorium Foyer houses everything related to sound. In this case, the musical ceramic sculptures by Tarek Atoui and an unpublished installation by Pierre Huyghe.

A gala ensemble for its inauguration that in the future will be mutating, to maintain interest and the possibility of making Pinault's huge collection visible.

More information

Tadao Ando was born in Osaka, Japan, in 1941. Ando briefly worked as a professional boxer in his youth. At 17, he obtained a featherweight boxing license and participated in professional bouts in Japan. At the same time, he worked as a truck driver and carpenter, a trade in which he gained firsthand experience in constructing furniture and wooden structures.

Tadao Ando did not attend formal architecture school for economic and personal reasons. He came from a modest family in Osaka, and financial constraints prevented him from attending university. During this time, he began reading architectural books on his own, by Mies van der Rohe and other modern architects, including treatises by Le Corbusier, particularly the book Vers une architecture, which was decisive for his vocation. His alternative training consisted of reading, attending lectures, and learning from direct observation.

A self-taught architect, he spent time in Kyoto and Nara, where he studied firsthand the great monuments of traditional Japanese architecture. Between 1962 and 1969, he travelled to the United States, Europe, and Africa to learn about Western architecture, its history, and techniques. His studies of traditional and modern Japanese architecture profoundly influenced his work and resulted in a unique blend of these rich traditions.

In 1969, he founded Tadao Ando Architect and Associates in Osaka. He is an honorary member of the architecture academies in six countries; he has been a visiting professor at Yale, Columbia, and Harvard University; and in 1997, he became a professor of architecture at the University of Tokyo.

His notable works include the Water Church (1988) and the Light Church (1989) in Japan; the Naoshima Museum of Contemporary Art (1992); the Modern Art Museum of Fort Worth in Texas (2002); and the UNESCO Conference Center in Paris (1995).

In 1991, he completed Rokko Housing II, the second phase of a residential complex begun in 1983 in Kobe, which was expanded in a third phase in 1998.

Ando has received numerous architectural awards, including the Pritzker Architecture Prize in 1995. Tadao Ando was appointed to the Berlin Academy of Arts in 1995. In 1995, he was made a Chevalier of the Order of Arts and Letters by the French government. He was subsequently promoted to Officer in 1997 and to Commander in 2013.

In 1996, he received the Praemium Imperiale for Architecture from the Japan Art Association, and in 1997, he was awarded the Royal Institute of British Architects (RIBA) Gold Medal, the American Institute of Architects Gold Medal in 2002, and the Kyoto Prize for his outstanding career in the arts and philosophy in 2002.

His works have been exhibited at institutions such as the Centre Pompidou in Paris, MoMA in New York, and the Venice Architecture Biennale, where he has participated in multiple editions since 1985. His buildings can be seen in Japan, Europe, the United States, and India.

In the fall of 2001, as a follow-up to the comprehensive master plan commissioned by Cooper, Robertson & Partners in the 1990s and completed in 2001, Tadao Ando was selected to develop a new architectural master plan for the Sterling and Francine Clark Art Institute, to expand its buildings and enhance its 140-acre campus. The project included the construction of the new Stone Hill Center exhibition building (2008) and the expansion of the Clark Museum, which reopened in 2014.

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Published on: May 18, 2021
Cite:
metalocus, JOSÉ JUAN BARBA
"The Bourse de Commerce – Pinault Collection by Tadao Ando. Opening on the 22nd of May" METALOCUS. Accessed
<https://www.metalocus.es/en/news/bourse-de-commerce-pinault-collection-tadao-ando-opening-22nd-may> ISSN 1139-6415
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