A major event in the art market, the Pavillon des Art et du Design (PAD) has gained indisputable reputation within the past fifteen years of its existence, whether in Paris – hometown of PAD – London, New York and most recently a Milan edition, to be launched in April 2013. Devoted to luscious designs, decorative arts and 20th Century painting, PAD brings together the most talented French and international dealers of the moment. Shortly before the start of the 16th edition of PAD, Patrick Perrin the founder of the fast growing and eclectic art and design fair invited us for a chat about good wine and good design – the French way of course.
Your very own family business, Gallerie Perrin, is known for 18th century antiquities. How did you decide to invest all your energy in showcasing modern and contemporary art and design?
Patrick Perrin: The evolution of PAD was fast and radical. Within sixteen years, we went from ancient art and paintings to 20th and 21st century art and design. We aim to showcase the youngest and most avant-garde design galleries that we find worldwide. It was just a personal decision to create this type of platform: it’s of course showcasing my own taste and the one of our experts in the jury in charge of choosing the exhibitors, but at the end of the day, it’s also because I am in love with eclecticism.
Meaning that you mix up different styles and genres? Is it the main characteristics of PAD? Fusing genres, mixing up different centuries…it’s all about showing a most diversified platform for art and design. It might look like a risky move, but I’m willing to take up the challenge in the name of good taste. I strongly believe that good taste reveals itself in a subtle mingle of genres, rather than in a “total look”. There is no hierarchy in design objects or works of art themselves. It’s the perception that builds up this false hierarchy, the impression that everything should be categorized and have its own place within the art market. At the end of the day, it’s about a feeling, about desirable aesthetics – the price of a design object or piece of art is not interesting at all. Being a passionate collector and art lover has nothing to do with a price tag. An art dealer that is only about being on the cover of Sotheby’s or Christie’s is not an art lover – he’s just a proper trading broker. Back in the days, before selling antiquities, my farther was selling furniture and random objects in flea markets. I grew up with his mercantile knowledge; I learnt that everything has a certain value, even seemingly insignificant objects that people would rather throw away. You can just randomly collect things you like, even if the object simply intrigues you. There is no need for a more sophisticated reason; it can be an impulsive choice. I’m for example collecting turtle shell at the moment – only of land turtles. The aquatic ones are not my thing, but don’t ask me why! You’d find some shells for only 10 euros, then the most expensive ones are worth a few thousands… like I said, there are plenty of ways to discover and collect art and design, not everything is dependent from having a considerable budget.
You seem to be quiet indifferent to money. Unfortunately, the art market is all but easy about it. Have you ever been forced to concessions regarding the creative direction of PAD, out of financial reasons? I’m a nice guy. Even if I have a bad temper now and then, ask my friends, they’ll confirm. I simply can’t work on something that I don’t like. I like wines from Bordeaux and those from Val de Loire, but I can’t stand the taste of Bourgogne wine. I simply don’t like it. When I cook, something I love to do, I will go to my favorite butcher on Ile Saint-Louis, there is no way I’ll go for supermarket meat. It’s the same for art: it’s a chosen lifestyle and an unhealthy obsession at the same time. To answer your question, I’m French, so naturally stubborn, therefore there is no way I’m making any type of concessions just because it might be more advantageous financially. I need to be passionate about something, whether for art, design, food, wines, even sports, it’s the same state of mind. I have the same approach for art and design: I want to concoct a tasteful experience. My aim is to show this quality, this so called French refinement that is appreciated world wide, through PAD’s eyes.
So it’s about being an art gourmet! What can we expect on the flavour full PAD menu for this upcoming edition? First of all, it is all about the design and art object itself. This is why we want our scenography to be very simple and sleek. No massive decorations or installations. It’s about showcasing objects we appreciate, there’s no particular one we love more than another. I out together the choice of the exhibitors together with the PAD committee – a bunch of friends, not only experts in art and design, but stimulating aesthetes who have are not afraid of showing their personal opinion. There is just one taste and it’s the good one. PAD evolved not because our taste changed – on the contrary, we continue to fiercely represent and support our timeless eclecticism. We adapted to the requirements of the art market, but the spirit that builds up PAD is still the same. Even if we’re more focused on contemporary art than we were before, it’s still about a merry mix of audacious design objects and art pieces and we’re not about to stop.
PAD PARIS
Jardin des Tuileries
March 28 – April 1st