It was in 1989 that Almine Rech truly began her career as a gallery owner by making the bold choice to exhibit a single artwork – a Light Piece – by the American James Turrell. Today, she is one of the most influential female art dealers, owning 6 galleries on three contients. We spoke with this powerful woman, member of the Ordre des Arts et des Lettres, about how she came so far, her present and future.

artfairmag: Almine, you have created a gallery which is today world famous and acknowledged. Can you tell us more about your background and how you got there?

Almine Rech: I don’t have an art background but my parents were both very sensitive to aesthetic. My mother was partly Vietnamese and one of our ancestors a most famous calligraphist and my father painted during weekends when I was a child. Later, he stopped as he had too much work. He was in fashion business and it became a more and more active one. But he would still take us to museums during weekends in Paris and other places where we’d go.

artfairmag: You represent very well-established names such as Jeff Koons, Julian Schnabel or Franz West, and you have launched the careers of many artists like James Turrel or Alexis Israel. What were your selection criteria from the very beginning of your activity? Do you still have the time to discover emerging talent?

A. R.: I always tried to have an open mind and no dogma like movement, artists generation… I have time to discover artists because I keep time for that. For me it’s the most exciting part of my profession.

artfairmag: As an art dealer, especially since you once wanted to become a painter, what role do you play in the creative work of your artists? Do you have a say in what they produce?

A. R.: When an artist asks my opinion I’m very interested in discussing, sometimes I start the discussion myself when something new happens in the work and I’m intrigued. Though, I don’t think it influences the work.

artfairmag: You began by showcasing conceptual and minimal art. Today, you represent a much wider variety of art. What would you say is the DNA of Almine Rech?

A. R.: The corner stone of the gallery is the belief in art, wishing to show artists deeply committed to their creation, whatever the subject of their work is. Whether they succeed in imposing themselves depends on so many reasons, it’s another conversation.

artfairmag: After expanding to Brussels, London, New York and Shanghai, you have just opened a new exhibition space in Paris. Why this choice? Is Paris still an important place in the art market?

A. R.: Yes, very important. It’s a major city of culture, with fantastic museums and this makes it attractive to art lovers.

artfairmag: Before Covid-19, you were participating in many art fairs all over the world. When the art market returns to a kind of normality, are you thinking of reducing your participation or on the contrary are you eager to start again as before?

A. R.: I wish we go back to a safe situation that allows traveling again, visiting museums, fairs. It might be a bit different, like after every crisis it happens some things change or new ones start.

artfairmag: Almine Rech is part of the powerful and highly mediatized mega-galleries. What were the advantages and disadvantages of being a woman to achieve this?

A. R.: From the beginning I didn’t feel I had problems directly related to being a woman. I was very decided to continue my work anyway and never felt blocked.

artfairmag: To conclude this interview, could you present us an artwork – which may or may not come from your gallery – that is special to you?

A. R.: I’ll choose a movie by Sergei Eisenstein, Potemkine, it’s one of the artworks that made the biggest impression on me, it covers so many human, aesthetic and political aspects. I saw it first when I was a teenager, its imprint on me hasn’t diminished.