They talk about my expertise
2026
Upcoming announcements:
2 museum exhibitions
1 museum acquisition
1 gallery exhibition
4 institutional exhibitions
PRODUCTION - CURATION - DISTRIBUTION
VIP private dinners & exhibitions for artists and collectors at the Hôtel des Gabelles
PRODUCTION - CURATION - DISTRIBUTION
Gallery booth at the MENART fair dedicated to Middle Eastern artists
PRODUCTION - CURATION - DISTRIBUTION
Temporary gallery booth at the Grand Palais in collaboration with Artemort
A few months ago, I closed my art gallery, Art Girls. I launched myself as an independent agent , even though artists regularly tell me I'm more of a manager than an agent. Like in music: an agent places artists, a manager builds them. Today, I no longer sign artists or artworks, I sign projects. My goal isn't to manage an entire career. I support projects with the potential for growth, visibility, and impact—those capable of uniting a broad audience, even a European or international one.
Some of my clients
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The art market has changed profoundly. We're not witnessing a passing crisis, but a structural shift . The physical space, once the heart of the system, is now becoming a communication tool rather than a sales tool. The vast majority of significant transactions take place elsewhere: at art fairs, online, through direct networks. Maintaining a physical address is expensive , requires considerable resources, and primarily benefits already powerful entities. Meanwhile, models like Fellowship AI, which operate as collectors' clubs and conduct the bulk of their sales online, are outperforming expectations. In Asia, we're seeing the emergence of a different way of circulating art, integrated into lifestyle, uninhibited, and agile. I don't believe these markets lack maturity; I think they're inventing something new. And this new approach is more akin to my own way of working today.
I gave lectures for
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Sylvie Castioni 's Marianne(s) project changed my perspective on the market, facilitating my transition from the art market to culture. In the art market, we think in terms of collectors, rarity, value, and visibility within a highly codified ecosystem. The central question is: who will buy? In culture, the question becomes: who will be impacted? With Marianne(s) , I saw doors open: institutions, local authorities, public spaces, civic programs, businesses, media outlets that never talk about contemporary art… A whole field of opportunities that doesn't depend on the market, but on impact. That's when I understood the importance of placing art where it's least expected : in spaces where it isn't filtered by market codes, where it can reach audiences who would never have set foot in a gallery, where it can exist for something other than its market value. The art market is selective. Culture circulates.
I have exhibited at the following venues /events
And my work today is much more powerful in this second area. This new facet of creation has also allowed me to discover a whole range of new revenue streams for artists : documentaries, conferences, residencies, merchandising, collaborations with brands, installations in public spaces… All these formats broaden their visibility as well as their finances.
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Not all artists are a good fit for an agency, just as not all are suited to a gallery. Some artists sell very well in the traditional market, but their work is too politically engaged, too institutional, or too niche to resonate with the general public or brands. Conversely, other, more popular artists struggle to attract galleries but find real interest in cross-disciplinary projects, collaborations, or hybrid formats. My role is precisely to understand where an artist can create value and impact. Those who naturally followed me to this more flexible and strategic model saw it as an opportunity to receive support in a different way.