The recently renovated stunning Belle Époque structure hosted one of the largest modern and contemporary art events of the season. 170 exhibitors from 25 different countries, offering an ambitious programme of exhibitions, prizes and panel discussions, were presented at the 27th edition of Art Paris.
Having taken place from April 3 to 6, 2025, at the Grand Palais in the French capital, this year’s Fair explored two themes – Immortal: A Focus on Figurative Painting in France by Amélie Adamo and Numa Hambursin and Out of bounds by Simon Lamunière focused on contemporary creation through the lenses of multiethnicity and the hybridisation of forms and cultures. It also introduced Promises, a new section curated by Marc Donnadieu, which presented 25 up-and-coming galleries, most of which were first-time exhibitors at Art Paris, and 26 monographic exhibitions by modern, contemporary and emerging artists.
Guillaume Piens, an art fair veteran who began his career at FIAC 25 years ago and took over as director of Art Paris in 2012, took time out of his busy schedule to chat with us about the 2025 edition and his vision for the future of the fair.
Contemporary Lynx is a proud media partner of Art Paris.
Aleksandra Mainka-Pawłowska: Art Paris 2025 showcased a mix of 60% French and 40% international exhibitors. Do you think this focus on the local art scene will remain central to the fair’s mission?
Guillaume Piens: Yes, absolutely. The Fair’s unique identity is rooted in its focus on the French art scene, and this is also to its advantage in the context of deglobalisation and regionalisation of the art market.
A.M.P.: But also, one of the main themes of Art Paris 2025 was Immortal: A Focus on Figurative Painting in France, curated by Amélie Adamo and Numa Hambursin. Do you see a growing trend in the popularity of figurative painting in France and Europe? Why do you think it continues to resonate with contemporary audiences?
G.P.: It is indeed a growing trend. Figurative painting spent many long years in purgatory, being ignored and out of favour with critics and cultural institutions alike. Today, it is the subject of a spectacular revival, both in France and around the world. Over the last ten years, I have seen a new generation of artists who have made a place for themselves and met with success. There are many reasons for this – explanations such as a new interest in narrative and the body, as well as figurative art’s capacity to portray the realities of contemporary life and address our relationship with the world of images all around us.
The Fair’s unique identity is rooted in its focus on the French art scene, and this is also to its advantage in the context of deglobalisation and regionalisation of the art market.
— Guillaume Piens
A.M.P.: And this year, the sector dedicated to young artists and emerging galleries was expanded and presented under the name Promesses on the southern balconies of the Grand Palais. Why do you think it’s important to provide up-and-coming artists and galleries with a platform at such a major fair?
G.P.: Art Paris aims to foster discovery and has, therefore, always been committed to supporting young galleries and emerging artists. In doing so, we are putting our faith in the future of creativity while offering these galleries a high level of visibility at the Grand Palais.
A.M.P.: There was also the Art Paris VIP programme, which provided exclusive access to 31 curated exhibition visits and tours for collectors and art professionals, showcasing the cultural scene in Paris. How was it received by the participants, and what role do you think it played in their overall experience of the fair?
G.P.: Collectors quite literally took all of the events on offer by storm. The fair’s VIP programme showcases the wealth and diversity of the Parisian arts scene, which has been exceptionally dynamic for several years now, thanks to both the increasing number of private initiatives and the variety of quality events at public cultural institutions. Paris has become the art capital of Europe, offering some truly outstanding exhibitions.
A.M.P.: Art Paris 2025 also introduced the Her Art Prize, a new award dedicated to women artists, in collaboration with Marie Claire and Boucheron. The winner, Zhanna Kadyrova, was selected from among the women artists presented at the 2025 Fair and received €30,000 in prize money. Can you tell us more about the selection process and what made Kadyrova stand out to the jury?
G.P.: The new Her Art Prize continues the efforts Art Paris has been making for several years to increase the visibility of women artists. I was one of the pioneers when, in 2019, I asked AWARE [Archives of Women Artists, Research and Exhibitions – editor’s note] to organise a focus on women artists in France. By using AI, we were able to calculate the exact percentage of women artists present at this edition: 40% of the exhibiting artists were women, which is a significant figure. As far as the selection was concerned, together with curator and Marie Claire consultant Marion Vignal, we studied the files of (living) women artists presented by the exhibiting galleries. We selected 12 finalists from different generations – women who demonstrated a real commitment both in their lives and to their art.
Notable examples included Mari Katayama, who is represented by Galerie Suzanne Tarasiève and who has managed to turn her disability into a source of inspiration, and Bianca Carta prizewinner Evi Keller, whose work explores the power of art to transform illness. Finally, considering her work about the ravages of the war in Ukraine, choosing Zhanna Kadyrova was self-evident. The awards ceremony was very moving, as Kadyrova, who came especially from Kyiv (where she has decided to stay despite the war), touched on the fate of her female artist friends who have stopped making art to join the army and defend their country. Her art questions whether it is possible to continue being an artist in a country at war and how art can help when confronted with the harsh realities of armed conflict.
Paris has become the art capital of Europe, offering some truly outstanding exhibitions.
— Guillaume Piens
A.M.P.: With Art Paris 2025 now behind us, how do you see the fair’s future? Are there any new themes you hope to explore?
G.P.: I feel very confident about the future of Art Paris. In an international context that is currently in a state of upheaval, its location in Paris is its biggest advantage. Paris is, after all, the European city that is currently in the spotlight; it boasts a rich art ecosystem with galleries, museums, and collectors – who really understand what it means to be a collector.
