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Fascinated with art collectors and charisma


PARIS. For dense birthday dance for Thaddeus Ropac comes on the 25th March, the inauguration of a second gallery added in Salzburg. The remarkably polite gallery with the discreet charm makes there a high-tech exhibition hall for art as well as large rooms for technical equipment which the global players for its catalog and book publishing needs.

The young upstart Salzburg and founded his Parisian gallery Ropac 1990 at the age of 30 years immediately before the art market crisis of the early 1990s. As a foreigner, he had a hard time in France. "Paris was very hard to crack," admits the highly successful. "Nevertheless, I have never considered giving up Paris. But Salzburg had to do much for Paris. All of a sudden it was different. I had won the confidence of the French and was perceived as relevant gallery," adds the brief Beuys students objectively.

"The dry spell lasted for eight to ten years," recalls former Ropacs Paris gallery manager Caroline Smulders, whose job it was from 1992 to 2002, the gallery a "French identity to lend." For Fabrice Hergott, Director of the Musée d’Art Moderne de la Ville de Paris, hangs together Ropacs international success with his character and behavior: "He is very attentive and kind to all interlocutors, is therefore quite the opposite of arrogant. Freundlich being is quite natural for him. That does not mean that he does not know what he wants. He is a mix of softness and determination. " Ropac had made itself felt through the quality of its artists and its exhibition policy. "It shows recognized artists as well as experimental art, but always keep the quality."

Practically all the big collectors are among his clients

Today, the list of artists includes 58 artists. "One of his strengths is being able to delegate and trust his staff," says Eric Mirch, a former employee and now own gallery in Paris. "The key to his success: hard work from early morning until late evening. And if it takes an artist, then he gets into a Rolls-Royce and a Ferrari does it, because it reinforces the engine."

Ropac presents its artists from around the world – at trade fairs and dinner. 35 Warehouse employees serve, among other things Tony Cragg, Peter Haley, Stephan Balkenhol, Gilbert & George, Ilya and Emilia Kabakov, Alex Katz, Arnulf Rainer, Tom Sachs, Scheibl Hubert, Lawrence Weiner, the work of Robert Mapplethorpe and the 2009 integrated into the gallery program Iranians Ramin and Rokni Haerizadeh.

The example of Anselm Kiefer is symptomatic of the Gallery Strategy: Ropacs breakthrough in France came simultaneously with jaw move from Paris Yvon Lambert Gallery in Ropac. The choice of Paris for example, could accommodate the work of the Germans living in France, the Vienna Albertina. In addition, pine and opened in 2007 in Paris, the monographic major exhibitions, "Monumenta" at the Grand Palais. Shortly thereafter, his great work commissioned by the Louvre was officially unveiled. Since one years working jaw, Ropac and former Guggenheim director Thomas Krens in an installation by Anselm Kiefer in the future Guggenheim Abu Dhabi. It is then Ropac discreetly asked to pay.

His winning manner, but also means that only he was invited during the show "Abu Dhabi Art" 2009 in the royal palace. Reason enough for his scathing comments envious colleagues. They say after the rare-pointing nervousness Ropac distance. But is much more iron self-control. "He is absolutely sovereign," says the one shown just in the Paris gallery from Chile, who live in Dusseldorf artist Sandra Vásquez de la hora. "He is the first gallery owner, who thanked me for a show."

Ropacs customers are virtually all the major collectors: Frieder Burda, Reinhold Würth, Heinz Essl, François Pinault, Bernard Arnault, Antoine de Galbert, Jean-Marc Salomon, etc. as well as many museums of contemporary art.

Ropacs entry into the Society allowed Eliette von Karajan, and later Picasso, Bianca Jagger and Sydney so many (open collector) at the door for ladies and gentlemen will be popular gallery.

Takes him all this success not to his head? "No, I’m far too pragmatic," replies Ropac decided. "When I was appointed to the five-member search committee for the election superintendent of the Salzburg Festival, flattered myself that already. Be perceived by the scientific community and are considered by the 15 most important museum directors on a personal level as a conversation partner: I feel a success."