20.09.23 in ambassadeurs
kamel mennour
How would you describe yourself and your job in a few words?
I am a gallery owner and art dealer. I opened my gallery in 1999, in a very small place at the time on rue Mazarine. Then I stayed in this area, essentially, opening several places like this 17th century mansion where we are now. It was a place that historically hosted literary salons. finally we perpetuate this idea of culture and transmission by presenting monographic or collective exhibitions.
All galleries have a soul. We are located a few meters from the mansion where Picasso painted Guernica. This is not trivial! There is a soul here that I found very inspiring and which allowed me to transmit things, particularly with the artists I have been supporting for years.
I am a gallery owner and art dealer. I opened my gallery in 1999, in a very small place at the time on rue Mazarine. Then I stayed in this area, essentially, opening several places like this 17th century mansion where we are now. It was a place that historically hosted literary salons. finally we perpetuate this idea of culture and transmission by presenting monographic or collective exhibitions.
All galleries have a soul. We are located a few meters from the mansion where Picasso painted Guernica. This is not trivial! There is a soul here that I found very inspiring and which allowed me to transmit things, particularly with the artists I have been supporting for years.
how did you get into this profession?
I broke into this profession. I did a master's degree in economics, and in parallel with my studies I started to have small jobs, one of which consisted of selling small paintings in works councils. Then there was a maturation in thinking and I wanted to become a gallery owner, more precisely THE gallery owner. This may seem a little pretentious but I sincerely had this intention of creating THE gallery.
Quite quickly I became interested in photography. I had already started collecting a lot of books from the La Chambre Claire bookstore on rue Saint Sulpice, where I bought compulsively. When I opened my gallery I naturally exhibited photography. in Paris in 1999 photography was not very present and very quickly I had the feeling of mastering something. I then wanted to explore other territories, such as sculpture, painting, installation, video, performance…
how do you identify and select artists or works?
very often, the artists that I have invited to exhibit are artists who questioned me, who questioned me or at least who questioned something. Sometimes it even happened that I didn't understand them myself or that I couldn't provide answers to what they were asking. It is this question that I find particularly stimulating.
With a little hindsight, I have the feeling that it was quite a good approach and that it went well since, for some of them, they are very identified and internationally recognized artists today. But at the start, you stammer with them, you don't really know where they are taking you and it's up to you to hold on to the branches and ensure that you become one of the links in their support.
“the artists that I invited to exhibit are artists who questioned me, who questioned me or at least who questioned something. »
what nourishes you in your job?
It’s this incredible opportunity and richness to be alongside artists. They enlighten you, nourish you and tell you stories. This is extraordinary to me. I really have a feeling of selfish enjoyment to have this possibility, with my team, to be able to be next to all these artists.
Are there things or projects that you are particularly proud of?
There are so many ! It's difficult to be exhaustive, and above all I wouldn't want to risk upsetting those who have been forgotten! but like that, at first glance I think of the monuments at the grand palace, the installations of Camille Henrot, but also those of Latifa Echakhch at the Georges Pompidou center, or even of Mohamed Bourouissa at the Barnes Foundation in Philadelphia. We've done a lot of things, it's not easy to summarize. Most of the time, for these artists it is quite historic and unexpected, it is a source of great pride. And therefore my pride and that of my teams too in a certain way.
what compliment would you like to hear or hear again in your profession?
it wouldn't necessarily be a compliment but more of a feeling. I would say that respect from one's peers, being recognized, is the most rewarding feeling. Not just for me, but for everyone who works here. To get where we are today has been a colossal amount of work carried out over 20 years with the entire team.
We have nurtured certain artists, who very often started from nothing. Artists who graduated from art schools or workshops, whom we supported with great interest, and for whom we were the interface witnessing their success.
what was your biggest challenge?
To make myself recognized. I arrived completely outside the box, when I opened the gallery in 1999 it wasn't even called Kamel Mennour in fact, it didn't have a name. I didn't have a plan at the start, no one was expecting me here in Saint Germain des Pres. It was after a few less memorable exhibitions, let's be honest, that I began to present photography and I was thus able to be identified. The gallery was then called Mennour then finally Kamel Mennour.
I was probably lucky too because the gallery was quickly recognized. We arrived at a time when photography did not exist and quite quickly visitors flocked to the gallery. We have become one of the galleries of the young generation, of my generation. I remember openings where rue Mazarine was closed, there was a queue of 700 people outside. It was crazy!
It’s this incredible opportunity and richness to be alongside artists. They enlighten you, nourish you and tell you stories. This is extraordinary to me. I really have a feeling of selfish enjoyment to have this possibility, with my team, to be able to be next to all these artists.
Are there things or projects that you are particularly proud of?
There are so many ! It's difficult to be exhaustive, and above all I wouldn't want to risk upsetting those who have been forgotten! but like that, at first glance I think of the monuments at the grand palace, the installations of Camille Henrot, but also those of Latifa Echakhch at the Georges Pompidou center, or even of Mohamed Bourouissa at the Barnes Foundation in Philadelphia. We've done a lot of things, it's not easy to summarize. Most of the time, for these artists it is quite historic and unexpected, it is a source of great pride. And therefore my pride and that of my teams too in a certain way.
what compliment would you like to hear or hear again in your profession?
it wouldn't necessarily be a compliment but more of a feeling. I would say that respect from one's peers, being recognized, is the most rewarding feeling. Not just for me, but for everyone who works here. To get where we are today has been a colossal amount of work carried out over 20 years with the entire team.
We have nurtured certain artists, who very often started from nothing. Artists who graduated from art schools or workshops, whom we supported with great interest, and for whom we were the interface witnessing their success.
what was your biggest challenge?
To make myself recognized. I arrived completely outside the box, when I opened the gallery in 1999 it wasn't even called Kamel Mennour in fact, it didn't have a name. I didn't have a plan at the start, no one was expecting me here in Saint Germain des Pres. It was after a few less memorable exhibitions, let's be honest, that I began to present photography and I was thus able to be identified. The gallery was then called Mennour then finally Kamel Mennour.
I was probably lucky too because the gallery was quickly recognized. We arrived at a time when photography did not exist and quite quickly visitors flocked to the gallery. We have become one of the galleries of the young generation, of my generation. I remember openings where rue Mazarine was closed, there was a queue of 700 people outside. It was crazy!
“I really have a feeling of selfish enjoyment to have this opportunity, with my team, to be able to be next to all these artists. »
do you have rituals in your life, your job?
Every morning I drop my youngest son off at school, without exception. I chat with him, we exchange, he tells me his crazy stories from a 7 year old child. And even if I have important meetings, I'm not available before 9:15 a.m. It's a ritual which is, for me, initiatory and which gives you peace, it's a balance.
I'm obviously not talking about football... anyone who knows me well knows that it's a real passion. it is an important ritual. It's my thing, it nourishes me and ultimately it puts my mind back in place. It's a base.
what is important in your life?
my family, my five children, undoubtedly. I am very lucky. As I was just saying, spending quality time with them, even in the most intense periods, is vital, it’s my balance. This is precisely what allows me to keep my mind and feet in the concrete, to put everyday professional issues into perspective.
your jewelry on le gramme, what are they? How do you wear them? what is your relationship with jewelry?
I didn't wear jewelry until recently, except for my wedding ring. at le gramme I chose a 21g ribbon bracelet in brushed 925 silver. what I like about this brand is this silence that these creations impose on you and that you end up forgetting. wearing them becomes natural. I find it chic and simple.
and generally speaking, when it comes to jewelry I'm not very ostentatious, I don't even have a watch. I like sobriety, that it is present without being too present.
what if le gramme was a work or an artist?
lee ufan, something quite spiritual and quite deep, almost deaf and silent.
Every morning I drop my youngest son off at school, without exception. I chat with him, we exchange, he tells me his crazy stories from a 7 year old child. And even if I have important meetings, I'm not available before 9:15 a.m. It's a ritual which is, for me, initiatory and which gives you peace, it's a balance.
I'm obviously not talking about football... anyone who knows me well knows that it's a real passion. it is an important ritual. It's my thing, it nourishes me and ultimately it puts my mind back in place. It's a base.
what is important in your life?
my family, my five children, undoubtedly. I am very lucky. As I was just saying, spending quality time with them, even in the most intense periods, is vital, it’s my balance. This is precisely what allows me to keep my mind and feet in the concrete, to put everyday professional issues into perspective.
your jewelry on le gramme, what are they? How do you wear them? what is your relationship with jewelry?
I didn't wear jewelry until recently, except for my wedding ring. at le gramme I chose a 21g ribbon bracelet in brushed 925 silver. what I like about this brand is this silence that these creations impose on you and that you end up forgetting. wearing them becomes natural. I find it chic and simple.
and generally speaking, when it comes to jewelry I'm not very ostentatious, I don't even have a watch. I like sobriety, that it is present without being too present.
what if le gramme was a work or an artist?
lee ufan, something quite spiritual and quite deep, almost deaf and silent.
“what I like about le gramme is this silence that these creations impose on you and that you end up forgetting. wearing them becomes natural. I find it chic and simple. »
---accumulation---
bracelet_21g_silver-925_smooth_brush_ribbon;bracelet_21g_silver-black-925_smooth_brush_ribbon;bracelet_7g_black-ceramic_smooth_polished_cable
