Art Insight #10: Colette Barbier

Director of Fondation d’entreprise Ricard

Paragon patron of contemporary art in the 21st century

Many leading global corporations have built their own exclusive art foundations. Many will purchase expensive pieces to add to their ever-expanding collections, while others will commission new works or collaborate with high-profile architects to turn their headquarters into creative landmarks. Backed by corporate parlays, art foundations established by businesses have become as popular as iconic museums and galleries. Is it because of the convergence of art with familiar brands? Certainly, what once felt abstract and highbrow in art has become more familiar than ever before. And there are also critics who say that corporate-established art foundations are just another form of commercial investment, a brand expansion that turns art into a means for commercial gain. Such critiques have led to the question of what an ideal corporate foundation entails.

The Paris-based Ricard Foundation is considered one of the most outstanding examples of this model. This is because at the outset, the foundation allocated the bulk of its efforts and resources toward fostering young artists and curators, and has continued to do so ever since.

The foundation has time and time again given obscure artists decisive preference over established names in their high-profile exhibitions. The Ricard Foundation Prize was created in 1999 to help young French artists enter the art world and provide them with an opportunity to promote their works. They also purchase the works of prizewinners and donate them to the Centre Pompidou Collection, actively partaking in building the world of contemporary art. Thriving in a field that would take other corporate art foundations years to catch up, the Ricard Foundation was recognized for their patronage program with the French Ministry of Culture’s Grand Mécène award in 2009.

Countless young artists who passed through the foundation are now becoming frontrunners in the world of contemporary art. Through years of steadfast support, the Ricard Foundation became the capital of aspiring young artists, and the world’s sturdiest bastion of 21st-century arts patronage. The foundation’s spirit was an effort that bore fruit by the work of Colette Barbier, the foundation’s director. She saw the future of art in the potential of young artists. She chose change in the face of challenge, and always sought originality. We sat down with Barbier, a bubbling and passionate personality like so many of those she helped support.

Patronage is not what determines the ideas of creativity and art.
Only the artist makes those decisions, and no one else. -Colette Barbier-

Q. You have been at the helm of the Ricard Foundation since its establishment. Could you briefly introduce the foundation?

The Ricard Foundation is an art foundation established under the auspices of the Pernod Ricard Group. The Ricard Foundation’s patronage program boasts a rich tradition that reaches back in history. The foundation’s founder Paul Ricard himself graduated from École des Beaux-arts de Paris (ENSBA), and had a particular interest and affection for art. He was always in the company of artist friends. Paul Ricard’s passion for art lives on today through the Ricard Foundation and the patronage program.

Q. The Ricard Prize (Prix Fondation d’entreprise Ricard) is an important part of the Ricard Foundation. Could you tell us about the annual recognition?

The Ricard Prize was founded in 1999. At the time in France, there were no prizes awarded to young artists. I thought it would be interesting to provide an opportunity-rich environment to competent young artists. The Ricard Foundation helps young artists gain traction in terms of public exposure through the Parisian Art Fair FIAC and exhibitions planned by the foundation. Every year, the most noteworthy French artists under 40 are selected and featured. The Ricard Prize is awarded to one of the artists presented. The Ricard Foundation buys an artwork from the prizewinner, and donates the work to the Centre Pompidou in Paris, to be part of their permanent collection.

Q. You have headed many collaborative projects with different art institutions. What have you gained through these partnerships with institutions of vastly different roles?

Since the inception of the Ricard Foundation, we recognized that close collaboration with a wide array of art institutions such as the Centre Pompidou, Palais de Tokyo, Jeu de Paume and FIAC were not only important, but vital. Any successful patronage program for young artists would need to support them through diverse means and measures. By collaborating with art institutions, we were able to build a support system that was more specialized and practical than would have otherwise been possible.

Q. Even a rudimentary observation of your projects reveals a great deal of attention and affection you have put toward discovering new talent. What drives you to foster and support young artists with such passion?

I had a strong conviction that young artists were in dire need of discovery and support. It was easier said than done for fresh art school graduates to find a gallery that would work with them, to find their footing as artists to present works, open exhibitions regularly and sustainably, and bloom into a professional career. I wanted to open doors for talented and capable artists.

Q. The Ricard Foundation won the Grand Mécénat Award from the French government in 2009. It must have been extraordinarily meaningful moment for you. Can you describe how you felt when you were awarded the medal?

I was very proud. I was particularly overjoyed that the Ricard Foundation’s long-running patronage program was recognized for its efforts. I was proud and also very grateful. It was an opportunity to remind ourselves and bring attention to the meaningfulness of what the foundation had worked for.

Q. We have been seeing many companies establishing art foundations in recent years. Although each foundation has a distinct objective, there has been criticism that they are all ultimately a form of investment. What are your thoughts on the matter? What ideal roles do you see corporate art foundations taking on?

It’s true that many companies are in fact entering the arts and culture sectors. On the positive side, the additional support by corporations can mean increased opportunities for more projects, in breadth and depth, to be brought forth. The Ricard Foundation is, however, a foundation unaffiliated to any corporate interest or commercial gain. The Ricard Foundation is unique for not keeping a collection and its entire budget is put toward exhibitions and patronage programs. Our leading issue of interest and priority is how we will provide substantive support to competent young artists. To that end, we are focusing our resources and efforts toward creating the best conditions within the context of contemporary art, in which artists can freely create art and communicate it with the audience.
Q. Corporate marketing is also increasingly looking to art as a means to promote and market goods and services. Direct participation of artists in the advertisement of goods and brands has become increasingly common, and aspects of certain artworks have been used directly in ads. What are your thoughts on art marketing today?

I am acutely aware of how art can be an inspirational force behind marketing or advertisement. We have already witnessed the marketing success of many well-known brands and businesses obtained by collaborations with artists. Sometimes the results can be interesting. What is most important is that the ‘art’ in and of itself must clearly be distinguished from artistic acts involved in commercial marketing. Art marketing involving artistic activity does not equate to the commercialization of artwork. Art and art marketing are two clearly distinct fields.

Q. What is the best way for a corporation to support contemporary art?

Planning exhibitions. Planning exhibitions is the best option for opening a window of exchange between artists, artwork and the public. Art book publishing is another way to do that. In fact, the Ricard Foundation also supports art publication. Publishing can be a means to encourage the creative works of artists. Honestly speaking, there is no one perfect solution. Providing basic financial assistance to artists and their creative endeavors aside, each artist is unique and has different needs.

Q. Ricard Prize winners have over several occasions visited Korea for group exhibitions. What is your impression of Korea and its art?

My trip to Korea last year was something to be grateful for, as I was so warmly welcomed. From the museums, galleries and corporate art foundations to various other forms of art institutions I visited during my time there. We were on a tight schedule and I wish I had more time to thoroughly explore everything, but I did leave with the impression that it was highly dynamic and intriguing. In some ways, I felt that Korean art shared some common ground with the European scene, France in particular. I was also very impressed with the technical aspects and how state-of-the-art it was.

Q. You have sponsored the works of countless artists, directing the flow of the world’s art scene. What do you consider to be the most meaningful keyword in contemporary art today?

Artwork owes its audience a reflection, contemplation if you will, of the world we live in. In that sense, contemporary art presents an opportunity for a better life, by encouraging us to look at our lives and our world.

Q. What does the future hold for you and the Ricard Foundation? Do you have any projects underway?

We are preparing for the annual Ricard Prize this October. Gilles Barbier’s exhibition is slated to open in Korea next year, and we are looking forward to sponsoring the French artist then. Of course, there are other projects we are working on, that are very relevant to Korea, but we cannot disclose them just yet.

Q. Do you have any sage advice you would like to share with young talents in the arts?

Be active. Don’t be afraid to wander around, to seek and discover the place you will set your foot down and spread your dreams. ■ with ARTINPOST

Camille Blatrix <Je veux passer le reste de ma vie avec toi> 2014 Courtesy Balice Hertling, Paris ⓒ Foundation d’entreprise Ricard/Aurelien Mole
Camille Blatrix <Je veux passer le reste de ma vie avec toi> 2014 Courtesy Balice Hertling, Paris ⓒ Foundation d’entreprise Ricard / Aurelien Mole
Jean-Alain Corre <Metro bondage(double nez)> 2014 Co-production Summer Lake, Ensba Lyon Courtesy Cortex Athletico, Bordeaux-Paris ⓒ Foundation d’entreprise Ricard/Aurelien Mole
Jean-Alain Corre <Metro bondage(blue cordoon)> 2014 Courtesy Cortex Athletico, Bordeaux-Paris ⓒ Foundation d’entreprise Ricard/Aurelien Mole
Jean-Alain Corre <Metro bondage(double nez)> 2014 Co-production Summer Lake, Ensba Lyon Courtesy Cortex Athletico, Bordeaux-Paris ⓒ Foundation d’entreprise Ricard/Aurelien Mole

Profile

Since 1989, Colette Barbier has directed the Ricard Group’s projects from the Pernod Ricard Group’s communications department. After the Paul Ricard cultural space opened in 1995 and the Ricard Foundation Prize established in 1999, the ‘Bal Jaune’ dinner party co-hosted by the Ricard Foundation and FIAC has discovered many young artists every year. In 2003, she set up the Mécènes du Sud in Marseille where she served as artistic director until 2013. In 2006, she was appointed the head of the Ricard Corporate Foundation as the Paul Ricard culture space became the Paul Ricard Foundation. She is an active member of several art institutions such as Palais de Tokyo and FRAC, and has been involved with La Source (an art society association for helping children in need) and Fondation Dar Al-Ma’mûnce (a foundation for the promotion of contemporary arts, culture and literary translation) to expand the social role of art. The French government awarded her efforts in 2010 by bestowing her Knight of the Order of Arts and Letters, then once again in 2014 with the higher status of Officer of the Legion of Honor.

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