Dear Georges-François Hirsch, Director General of Artistic Creation, Ladies and Gentlemen, Dear Friends,

I’m very pleased to have you here. This is probably the first time
for a long time, that all the actors who make up the network of arts
are meeting at the Ministry of Culture and Communication.

Around and at the service of artists, there are representatives of schools here
museums, FRAC, art centres, art libraries, and
artists of course; there are stage managers, speakers, and
curators, art critics, bloggers, book publishers
art, newspaper directors, museum friends, collectors;
representatives of galleries, auction houses, foundations and
fairs, as well as IFCIC, the French Institute, Ubifrance, and representatives
regional and local authorities.

Thank you for accepting this invitation, and thank you to the Director
general of the artistic creation to have implemented it.

I wanted this meeting for several reasons.

The first is to tell you again that I am very attentive to the arts
plastics in general. I love contemporary art. I am sensitive to your
commitment in its favour. That is why I wanted the
to the visual arts in 2011 is significantly increased, more than 17%;
on the one hand to allow the rehabilitation of the Palais de Tokyo;
on the other hand to accompany the construction of FRAC enlarged. To these
investment credits have also been added
new operation.

The second thing I want to say is that I’m also very
in particular, the visual arts. It is clear to me that
Today’s sector is at the heart of a paradox that must be addressed.

At first glance, it gives the impression of being very well. We speak without
sales of extravagant amounts, of the booming market. Art
contemporary is everywhere: in shops, in hotels, in
cities. Regions want larger FRAC. Lille, Nantes, Bordeaux,
Lyon have launched very important public orders. There is a kind
climate of euphoria around contemporary art, which contrasts with
other sectors of culture, where a speech is more readily heard

And yet I perceive that there is, at the same time, a malaise in the arts
plastics, and a discomfort all the harder to live with, no doubt, that it can not
not be heard, that he can hardly express himself, so much that
euphoria is pressing, almost guilt-inducing.

The first reason for this uneasiness is that this «boom» of the arts
plastic masks, of course, important disparities. Disparities
between New York, London and Paris, but also between Paris and
regions, between sales houses and galleries, between heads
posters and the field.

The second reason for this deeper malaise is that this growth
goes hand in hand with major upheavals. Behind the euphoria is
a shock to the plastic arts. I will remember four features:
- first, more than any other art sector, the world of art;
has become international;
- secondly, and this may be related, private actors have taken a
unprecedented importance;
- Third, new forms and practices;
artistic have appeared;
- fourth, the public’s relationship to art has changed, as
access to art has multiplied: in the public space, in
digital space, at school…

These upheavals require a thorough review of our models
of intervention, in the respect of the values we carry together.

Globalization has two consequences: the need to be mobile
and open to the outside permanently, which is appreciable, but which
demands means; a shift of our gaze, to which we do not
are not accustomed enough. Paris is no more than a center among others,
while the modes of legitimation are broken, the
authorized interlocutors multiply, as the evaluation criteria are
contested and diversified.

The proliferation of private actors has implications for the role of the State.
Its means of intervening financially in the market are limited. But
in a way, speculation also changes the old balances
between private actors. Our fabric of galleries, of all sizes, which guarantees
also the diversity of approaches, suffers from a

The changes in artistic practices themselves lead to
difficulties: producing a multimedia piece, or a large installation, this
is not the same as hanging a painting. Nor for the artist, who
is an individual entrepreneur, neither for the gallery owner nor the curator
exhibitions, which become producers or producer delegates. We must
mobilize significant financial resources. The
the critical size required to meet these costs is a consequence

Finally, the appetite for contemporary art changes the practices of
diffusion and reception, and sometimes disturbs a certain relation to thought,
which constitutes the relationship to art, especially contemporary art. It
also weighs on the training of very young artists, who can be attracted
by a form of star-system, rather than by the long and internalized time of
creation. It finally weighs on art publishing, which must be reinvented to
satisfy other types of readers.

To the truth, this shock is not unknown to us. Cinema has known it in the
1960s. The book in the 1980s. Music and press in
the 2000s. Of course, plastic works are not sold to
millions of copies and they don’t download on
Here, the aura Walter Benjamin spoke of still preserves the work
the logic of consumption. But tickets, and the
market pressure on operators, very similar to those of the
movies or music.

This type of crisis can be seen retrospectively in the other sectors
growth must be accompanied. The diagnosed decline in
presence of our artists abroad. The risk of seeing those of our artists
outside our borders, leaving France also exists. With
everything that would imply for the world of plastic arts in France.

Conversely, if this shock is well anticipated, it can also be beneficial. I have it
says at the outset, this unprecedented craze for the arts
Plastics is also a chance, a lever that must be seized. Remember,
ten years ago: some wanted art to disappear
contemporary, others evoked an «art in the gaseous state».

This brings me to the third reason for this meeting, which is the most
important. I want us to react to this new situation by
working together. Georges-François Hirsch will describe you in a
the title and composition of the working groups to which I
wishes to involve you. I look forward to concrete proposals
will commit me to implement. I have asked that they be made to me
quickly, because we are not starting from nothing, far from it.

The Béthenod report, the Jobbé-Duval report, Catherine’s analyses
Grenier and Olivier Kaeppelin on French artists in the middle of
career: all this is well known to you. General inspection, inspection
of creation, the department of studies and foresight we
also provide a state of the art in France. Professionals
provide their own analyses. Certainly, in some cases, the context has
already changed. But for the most part, the elements of analysis are there.

We can also build on what exists. The network that we have
built in thirty years is exceptional, unique. We must seize
the occasion of this anniversary to think about the next thirty years of
decentralization, with FRAC, art centres, art museums
schools, in support of the communities
territorial and DRAC. Thirty years is an age both mature, and still
young. We are in the middle of the ford. Much has been done, many
new audiences have been conquered, the European space has opened. It remains
still a lot to do. We will accompany you.

The success of the Palais de Tokyo for almost ten years is also
stimulating. Its new spaces will allow it to better accompany
artists in a segment, between emergence and confirmation, that we
The enlarged Palais de Tokyo will be a Factory at the
French. I know that you expect a lot from it. I will ensure that there is
has no disappointment.

Monumenta, hosted by the Grand Palais Public Establishment, is
also a great success.

We can also rely on the new Institut Français. A
new contract of objectives and means is being written. A project
has already been completed: the census of artists' residences in
I hope it will eventually lead to the creation of a simplified portal,
at the service of artists who wish to travel.

The art market observatory will also make new
recommendations in March. Already, a fruitful collaboration with IFCIC

I am mindful that the school transformation process affects
near its end. This rich and difficult reform has made it possible to throw a
new light on the higher artistic teachings and therefore, well
on art schools. At the end of a vast operation
committed evaluation alongside the Ministry of Higher Education
and research, the Master’s degree is now recognized and valued
in these schools.

Finally, the long-term work on the continuing training of artistesauteurs
is on its way.

The international careers of a new generation of artists – I
Pierre Huyghe, winner of the prestigious Smithsonian Award, said:
Tatiana Trouvé, Philippe Parreno, Dominique Gonzalez-Forster, Laurent
Grasso, Loris Gréaud or Cyprien Gaillard – essentially owe their
but, I would also like to believe, the strength of this network and
its initiatives.

Thermostat exchange, Berlin-Paris, the American FRAC exhibition, the
Centre Pompidou’s research and globalisation programme, the opening
galleries abroad, the arrival of international galleries in
Paris, the vitality of FIAC, the very dynamic foundations that are being created
in France: all this goes in the right direction and makes us progress.

With you, then, I want to go further in this reform process
essential. Not only by imagining together new
measures, new funding arrangements, who knows, new
institutions, but also a new mindset.

In the plastic arts, as elsewhere, the State is the heir of two
stories. One, long, ancient, favors, as I said, a direct relationship
between public authorities and artists. It is embodied in the
public orders, large exhibitions, very beautiful collections
national. The other, which was established in the 1980s,
favours operators, encourages decentralization and partnerships.

You probably shouldn’t pick one story against the other, but you have to
certainly rethink their relationship, at a time when the world changes
The plastic arts force us to work together more than ever.
In this respect, we probably have work to do here in the Ministry
the Department of Visual Arts and the Centre
National Arts Council, jointly created in 1982.
first to conduct the ministry’s regal policy in the direction of
plastic arts, the second is able to be the operator of partnerships
public-private, central and decentralized, renewed, reinvented, that
I am calling with my best wishes. He is a key player in the new network that
We see in the cinema, to use this example, how much the
protection of the French cultural exception was supported by the
National Cinematography Centre was able to bring to the professionals.

I would like Georges-François Hirsch to make me proposals for
strengthen our effectiveness in this regard. On the inspection side of creation,
significant reform work has already been done. At the Centre
Many initiatives are being studied.

I know that CNAP is experimenting with a “production fund”. I would be
happy that he is studying the possibility of installing it in a sustainable way, in order to
that it can support the productions of galleries that so wish, to
the way of an advance on revenues, to meet new
creative needs of artists.

I know that the CNAP occasionally buys works for the
other institutions, such as FRAC or the National Art Museum
I would like him to think about the possibility of the
do more systematically, to leverage our power

Finally, I know that the CNAP associates professionals with the helpers it
distributed. I would like him to consider the possibility of associating them further
further, to strengthen our network.

I have already said, I repeat: there are no strong and visible artists without a
strong and visible art world. An artist is built through a teacher,
a school, a first article in a newspaper, a first exhibition
in an art centre, a curator, a gallery owner, a collector, the entrance to the
collection of a museum... This construction is not the result of a
vertical process, which would start from the top and go down. This is a
process, as Gilles Deleuze would say. The state has
to promote the professionalization and organization of
actors involved in this process.

It interests me that the plastic arts imagine together a convention
sector. In this regard, I commend the work of the
professionalization of the professions undertaken by CIPAC for more than ten years
years. I wanted to sign the circular labeling the art centers and the one on
public order. I am particularly proud to have led the
reform of schools. Strong operators is an opportunity for all the
network. That’s why I also wanted the Force de l'art
become the Triennale, and that it be produced by an art center, the Palace
in association with other young places, under the responsibility of
of the Creative Branch.

I also want strong professionals. We have to bring out great
French commissioners to get French to lead
foreign institutions and that French artists be taken to
their luggage. I want to give us the means, including
financial. I could say the same thing about art critics. A project
help in English translation of critical texts is being studied with
the Institut Français. It will allow the dissemination of our thought in the world.
This is a fundamental element to facilitate and prepare the ground for our
artists and our creators. I want to further support newspapers
that we are doing today. It is also about our outreach. I
support artists. Services are working to
already at my request for a project to simplify the installation of
Paris, modelled on the Berlin D.A.A.D. Your help will be
valuable to clarify.

The network is being structured, and our success
will come from these exchanges and partnerships that we can build
between us; of the life that will circulate within these walls and beyond.

I want to believe that the fact that so many of you responded to my
This invitation reflects the same desire for shared evolution, for work
reform. I am pleased with the work that we are doing to
will lead together and I therefore look forward to proposals that
will arise from your debates.

Thank you.