The Collection

A commitment to women artists, ecological narratives, and craftsmanship

Initiated in 2008 by Nathalie Guiot, the collection has been built organically and intuitively, through encounters and then in connection with the foundation's commitments. A desire to champion plural artistic practices emerging from the 1970s to the present day, with a focus on the Global South, incorporating ecology. Sensitive to the question of the depletion of natural resources and the preservation of ancestral and contemporary craftsmanship, Nathalie Guiot seeks to champion the voices of women artists, while placing emphasis on collaborative works that support local communities.

Comte Claudia, The big ceramic fire coral four long fingers

Muholi Zanele, Creation From the Somnyama Ngonyama series: Sine IV, Melbourne, Australia

2020

Autres artistes présents dans la collection

Caroline Achaintre, Rita Ackermann, Alma Allen, Markus Amm, Amber Andrews, Helene Appel, Farah Atassi, Vanessa Beecroft, Lynda Benglis, Will Benedict, Jean-Baptiste Bernadet, Michel Blazy, Cathryn Boch, Bianca Bondi, Emmanuel Boos, Paloma Bosquê, Louise Bourgeois, Lucia Bru, Nicholas Byrne, Albarrán Cabrera, Schmidt California, Lubna Chowdhary, Estelle Chrétien, Claudia Comte, Ange Dakouo, Elena Damiani, Daniel Dewar & Grégory Gicquel, Odonchimeg Davaadorj, Edith Dekyndt, Jérémy Demester, Monica de Miranda, André Derain, Diambe, Mark Dion, Edi Dubien, Pauline-Rose Dumas, Nathalie Du Pasquier, Marten Lobner Espersen, Sam Falls, Simone Fattal, Richard Fauguet, Valérie Favre, Sidival Fila, Nicolas Floc'h, Michel Francois, Agnès Geoffray, Noémie Goudal, Pauline Guerrier, Kazunori Hamana, Majd Abdel Hamid, Marie Hazard, Camille Henrot, Nathanaëlle Herbelin, Roger Herman, Sheila Hicks, Christian Hidaka, Martine Jackson, Ann Veronica Janssens, Chantal Joffe, Eva Jospin, Tamo Jugeli, Jitish Kallat, Sanam Khatibi, Seffa Klein, Takehito Koganaezawa, Klara Kristalova, Henri Laurens, Alexandre Lenoir, Zoe Leonard, Jasmine Little, Matthew Lutz Kinoy, Liz Magor, Benoît Maire, Marin Majic, Anna Malagrida, Wallen Mapondera, José Maria Sicilia, Tincuța Marin, Martine Feipel & Jean Bechameil, Kristin Mckirdy, Janaina Mello Landini, Isa Melsheimer, Théo Mercier, Caroline Mesquita, Desire Moheb-Zandi, Pascal Monteil, Paulo Monteiro, Oscar Murillo, Edgardo Navarro, Asemahle Ntlonti, Junko Oki, Ozioma Onuzulike, Dickens Otieno, Sara Ouhaddou, Zoé Paul, Nohémi Pérez, Elise Peroi, Bruno Perramant, Solange Pessoa, Simone Pheulpin, Francis Picabia, Diogo Pimentao, Eugenio Pipo, Lucia Pizzani, Benoît Plateus, Laure Prouvost, Hans Reichel, Mathilde Rosier, Karine Rougier, Anila Rubiku, Gidéon Rubin, Sterling Ruby, Elsa Sahal, Tomás Saraceno, Edgar Sarin, Mira Schor, Grace Schwindt, Dianna Settles, Kiki Smith, Marta Spagnoli, Georges Tony Stoll, Jacqueline Surdell, Risaku Suzuki, Catalina Swinburn, Alina Szapocznikow, Agnès Thurnauer, Achraf Touloub, Tatiana Trouvé, Natsuko Uchino, Thu Van Tran, Pieter Vermeersch, Adrien Vescovi, Jeanne Vicérial, Ulla Von Brandenburg, Brent Wadden, Khairulddin Wahab, Francesca Woodman, Masaomi Yasunaga, Tomotaka Yasui, Antonella Zazzera, Héctor Zamora, ...

A Living Collection

How does one collect in the age of ecological crisis? This is one of the questions running through the Thalie Collection, conceived by Nathalie Guiot as a dynamic mechanism, capable of evolving in dialogue with the urgencies of the present. Woven from exhibitions, residencies, productions and research, the collection becomes an active tool in constant renewal, much like Agnès Thurnauer's work Maintenant, where the word appears suspended in a cloudy sky — an invitation to root oneself in the here and now, to see the state of the world and to act. At the origin of the collection lies the body, the first territory of experience and transformation. The photographs of Francesca Woodman, where the body is at once the subject and the instrument of the work, form the foundation of this approach. In Lynda Benglis, the body transforms into a gesture of material resistance; in Rita Ackermann and Alina Szapocznikow, ambiguity deepens between organ and flower, resistance and transformation. From there, the gaze broadens toward the wounded living world: the underwater worlds of Nicolas Floc'h, the Catatumbo landscapes of Nohemi Pérez, the South African territories of Asemahle Ntlonti, where human violence leaves scars that art seeks to read and repair. For ecology should not concern itself solely with external environments and the bodies that inhabit them, but should also turn toward inner landscapes and the psyche. It is this ecology of dreams that Kiki Smith and Karine Rougier summon, dissolving the boundaries between human and non-human, while Caroline Achaintre and Tincuța Marin open worlds inhabited by myths, rituals and ancestral imaginaries. Elsewhere, it is time itself that shifts in scale: the geological strata of Elena Damiani, the slow light of Thu-Van Tran, the patient embroidery of Majd Abdel Hamid, a symbol of connection and healing. And finally, gestures and knowledge: the raw earth bricks of Natsuko Uchino, the transgenerational craftsmanship of Sara Ouhaddou, the sculpture-garment of Jeanne Vicérial, the palm fibres of Catalina Swinburn. Rooted in the feminist practices of the 1960s and 70s and projected into the present, the Thalie Collection redraws itself with each acquisition — like Ulla Von Brandenburg's watercolour Dore — like a fabric that grows, transforms, and remains alive.

link to the full text by Yann Chateigné Tytelman (only in French). Une collection vivante.