Kamel Mennour Gallery — About — Slash Paris

The architectural splendour of the « Hôtel de la Vieuville » was once the location for one of the most prestigious of Parisian “salons” of the 18th century, that of the “General correspondence for the arts and sciences” and in the 20th century it housed Jean-Jacques Magis’ bookshop, a must for Parisian book-lovers.

Between the paved courtyard and the garden, Kamel has transformed this place of letters and memory into a space dedicated to art and research, aided by the light touch of architects Aldric Beckmann and Françoise N’Thépé.

Ten years and a flawless path. It has been a true journey for the unique eyes of Kamel Mennour; sharp, hard-working, the tools of his trade…

1999

The gallery on the rue Mazarine opened with big names in a small space. Photography came first with the work of Nobuyoshi Araki, Larry Clark, Annie Leibovitz, Pierre Molinier, Stephen Shore… in tandem with the best wordsmiths such as Germano Celant and Susan Sontag to build a quality editorial policy. The idea was to exhibit, show and most of all share. Then, as time went by, Kamel broadened his horizons, took risks, came on board projects early, accompanied artists and produced, regardless of the complexity, difficulty, nature, extra-territoriality of the piece.

2007

The gallery on rue Saint-André des Arts opened with a broader remit from the word go with work by Daniel Buren, followed quickly by Claude Lévêque, Tadashi Kawamata and the implementation of an internationally ambitious production policy in Basel, Miami, New York, Paris… Progressive landslides of pleasure… Mixing generations, temperaments, registers, and materials. Retaining the same enthusiasm, commitment, high standards, and excellence.

Ten years filled with extreme diversity and plurality. Is it possible encapsulate these ten years? So many shared encounters, complicities, friendships and adventures to be summed up in so little time, in such a small space, from the rue Mazarine to the rue Saint-André des Arts. What can we show or say that would encompass so many exceptional pieces, so many unique personalities expressed through photography, video, painting, sculpture and installations…

Should we organise a journey that would bring together different generations and visions: the ones from the beginning — Nobuyoshi Araki, Roger Ballen, Pierre Molinier — the ones from here — Marie Bovo, Daniel Buren, Yona Friedman, Camille Henrot, Claude Lévêque, Pierre Malphettes, François Morellet, Djamel Tatah — and the ones from over there — Latifa Echakhch, Dario Escobar, Alberto Garcia-Alix, Alfredo Jaar, Tadashi Kawamata, Sigalit Landau, Daido Moriyama, Zineb Sedira, Miri Segal, Huang Yong Ping, Shen Yuan.

All those with whom Kamel Mennour has, in ten short years, built not a gallery but a place for research, experimentation and production, a common work of art. It doesn’t end here; there is a major intervention from Huang Yong Ping in the works in the Chapelle des Petits Augustins of the École nationale supérieure des Beaux-arts of Paris, to accompany a personal exhibition of the artist’s work at the gallery.