While I was hosting the Dauphine University Paris Executive Programme students in London, I was delighted to meet with most of them to discuss what their plans were on completion of the course. Mathieu Gard is one of the participants who explained his goals to expand his gallery model. With already several exhibitions under his belt, at 22, Mathieu is ready to be the next big thing in the gallery world. I was able to chat with Mathieu and he agreed to answer some questions about his philosophy and future goals for L’HÉRITIER gallery.

Glen: What inspired you to open a gallery in Paris, and how does your vision differ from other galleries in the city?

Mathieu: Although I could anticipate the difficulties associated with establishing an art gallery from the outset - and they are numerous - the launch of L’HÉRITIER gallery was rather innocent and spontaneous insofar as, before any practical consideration, it was important to me to showcase the work of the German artist Lukas Meir, who had never been shown before, and to work with Denis Félix, a more established photographer and personal friend. Initially driven by sentiment, my intentions later became more professional, one might say, and I did not hesitate to champion Lukas Meir and the young Romain Carré - who has since been exhibited at the Biennale de Bonifacio - in London, during the 2023 edition of the Focus Art Fair. 

The gallery's direction, which evolved gradually and became clearer in retrospect - after the selection of artists - aims to support European artists advocating a conceptual and figurative approach. Aimed at promoting a local and "intellectual" scene, L’HÉRITIER's direction was not initially intended to be particularly competitive compared to other Parisian galleries; it was simply about showcasing artists, like Lukas, whom the "scene" had not necessarily yet championed but who are fundamentally deserving. However, I know that today, if a collector is looking to support European artists with meticulous artistic practices and serving as a vehicle for conceptual narrative, L’HÉRITIER is perhaps better positioned to meet their requirements than any other Parisian gallery, as this is its specificity.

G: Could you share some insights into the artists you've chosen to represent and why their work aligns with your gallery's ethos?

M: Representing few artists at the moment with the aim of closely following them, L’HÉRITIER supports three visual artists and one conceptual artist. 

Although employing different mediums, Lukas Meir, Denis Félix, and Thomas Julliot-Decker share the common goal of inviting the viewer to explore what lies "beyond" the image and to immerse themselves in a certain observation of the world, which, far from necessarily being theoretical and cerebral, carries with it its share of general ideas. Intimacy, the phenomenon of unveiling and modesty, as well as the role that space plays in our intersubjective relationships, are themes addressed by these three artists. 

Romain Carré, trained in astrophysics, seeks to interrogate notions of belief and science through an essentially conceptual practice. Never depicting humans in his work - unlike the three other artists mentioned previously - Romain focuses solely on the idea of nature and what it suggests in the collective imagination. 

Although all these themes are seemingly distant, it is the same conceptual intention that underlies the practice of these artists, whom I also seek to encourage in experimental directions so that they continue to question the medium, and thereby the history of the image, without remaining too much in a comfort zone.

G: How do you plan to engage with the local artistic community and foster relationships with emerging artists?

M: L’HÉRITIER organizes temporary exhibitions that will increasingly have the opportunity to showcase emerging artists alongside works by established artists: this dialogue, in the form of succession and transmission, is precisely what interests us (it corresponds quite closely, moreover, to what the name of the gallery itself conveys in french). The emerging scene is not only made up of artists : it also includes curators of great talent. Eager to work with new exhibition curators and benefit from their perspective, it is important for us to present the sharpest selection of emerging artists and curators in order to show what Europe is still capable of contributing to the History of Art as it is being written today.

G: Paris is renowned for its rich cultural history. How do you see your gallery contributing to and evolving within this context?

M: In addition to being a place of artistic legitimacy, Paris is a cultural hub that, like New York and London, serves as a local showcase for global arts. For this reason, we believe it's beneficial that alongside galleries featuring contemporary African, American, South American, or Asian art - which contribute to making Paris as rich and vibrant in the understanding of today's art - galleries more focused on the emerging European scene are developing to make the panorama as comprehensive as possible.

Establishing the perspective that L’HÉRITIER has forged in Paris is a means for us to become more credible in expanding our activities worldwide and contribute to ensuring that the practice of the European artists we champion is not only accessible in Europe but everywhere around the world.

G: What strategies do you have in place to attract both local and international collectors to your gallery?

M: We are fortunate to have among our collectors individuals with discerning and seasoned eyes. Alongside these seasoned collectors, we are equally pleased to have helped young people make their first purchases of contemporary art. One of the advantages of the emerging scene is the attractiveness of prices, which allows young individuals the opportunity to acquire and live with artworks on a daily basis.

While collectors are central to artists and the ecosystem, many other sometimes overlooked actors are just as important. Interior architects or art advisors are vital players with whom we work to expand our network as much as possible.

G: Operating a gallery involves various challenges. How do you plan to navigate these challenges and ensure the sustainability of your gallery?

M: The production of artworks, event-related communication, press, space rentals, or participation in fairs are very significant expense areas. Despite this, several aspects of the art world, which did not exist yesterday, allow for maneuvering differently and considering new business plans. The recent crisis in office real estate, notably due to coworking and telecommuting, for example, has sparked a desire among landlords and property owners to promote their properties differently: the solicitation of art exhibitions is then very regular. As a result, spaces become available for organizing exhibitions.

Fairs are very costly and provide little assurance regarding gallery profitability. Reflecting on a model for the participation of international galleries that involves reducing their participation costs and jointly assuming risks by remunerating differently, through a commission on sales, would make galleries themselves more confident. These are avenues that L’HÉRITIER is beginning to explore.

Without delving into overly abstract macroeconomic considerations, the art market today represents only a tiny fraction of one of the Tech Giants' quarterly revenues. If it wants to have a prosperous and growing future, the art market must change its approaches. At L’HÉRITIER, we believe that the future of art lies in modifying collective psychologies, which, similar to the luxury industry that has undertaken considerable soft power work, would involve extending the desire to acquire art to social categories that currently view art only as a playground for billionaires. This work, which involves collaborations with the luxury industry, perfume, cinema, architecture, and urban planning, is fundamental to L’HÉRITIER's strategic projection.

G: In what ways do you envision your gallery serving as a platform for dialogue and exchange within the art world?

M: For rather profound reasons, which are reflected in the very selection of our artists, we are keen to build bridges between artistic practices and academic disciplines. Breaking down the barriers between art and incorporating related disciplines seems to us the most appropriate way to breathe life into art itself: film, architecture, philosophy, sociology, and anthropology should be able to offer insights into art just as art should be capable of contributing to other disciplines. This is not simply a marketing approach but a cultural vocation, in many respects selfless and significant.

G: As a young gallery owner, what lessons have you learned so far, and how do you plan to continue learning and growing in this role?

M: I notice that collectors not only gravitate towards artists they know but also take pride in affiliating themselves with a gallery; just as one is not only happy to own a beautiful scarf but also to show that they are a customer of a particular brand. Because galleries are tending to establish themselves as brands, the art market is starting to concentrate more and more on large galleries and let smaller ones perish. However, being aware of this underlying trend should not lead to taking too many risks: caution and reflection are required on a path that, in fact, is long and winding.

You can follow Mathieu’s career on his website - Galerie L’Heritier or on instagram @galerielheritier