5th edition of Pareidolie, Meeting with Martine Robin


The contemporary drawing fair Pareidolie, which is held every year in Marseille, will open its doors for its 5th edition on September 1st. On this occasion, we met its director Martine Robin who delivers us exclusively the ambitions of this young fair.

New visibility this year for Paréidolie who settles in J1, why is this 5th edition particularly ambitious and attractive?

A new visibility that will allow PAREIDOLIE to shinemore when he will find the walls of the Château de Servières next year. The J1 is a magnificent site to celebrate the 5 years of existence of our show which does not derogate this year from the conditions of requirement and quality that we imposed on ourselves since its creation by ensuring the opening towards the international but also the eclecticism of the proposals.

We remain in an intimate format which gives all its singularity to our salon, and which is explicitly greeted by our gallery owners who make the choice to return. It is by cultivating these aspects which are proper to us that PAREIDOLIE has made a place for itself in the circuit of fairs and shows.

The PAREIDOLIE team has always wanted to create this highlight by taking into account the territory and its dynamics, from MP 2013 until today MP 2018; we are therefore logically based on the major events of the Metropolis and in fact, we are associated with the closing of the year MP 2018 What Love!

Bringing together the two major fairs under the same roof and hosting the latest one: Polyptique, dedicated to photography, which will take place just a stone’s throw from J1, will not only show the vitality of our city, but will also facilitate the mobility of the public

How does the selection of the 14 galleries reflect an overview of current trends in the medium?

We are ourselves, Françoise, Lydie, Michelle, Céline and myself, obviously very attentive to all the tendencies of the medium but we ensure ourselves of the expertise and the informed glance of the various members who compose our jury of selection of the galleries, from Gérard Traquandi to Marine Pagès for example, and thanks to the sponsorship – for the second consecutive year – of Chiara Parisi.

Also the drawing is present in its most singular aspects with the solo show of Agathe Pitié at Michel Soskine, but also on the side of the raw art with the gallery Christian Berst, or according to more conceptual axes with the presentation of the Baharestan Carpet of the artist Tere Recarens presented by the gallery Hans & Fritz and the drawings of Jean Christophe Norman presented by the Gallery C…. With the selection of the Betts Project gallery we open a way on the relations with architecture which gives still another look on the drawing today.The requirement does not exclude taking risks and every year we are happy to welcome a more experimental project as with the Berlin gallery KSR 4 years ago or last year the Austrian gallery Viktor Bücher which inaugurated with us its participation in fairs and drawing shows and which recently distinguished itself with the Drawing Now Award !

We are cultivating the rapprochement between prospective galleries with projects perhaps more unexpected, the proposal of Gröelle Pass Project this year for example and older galleries like Michel Rein that we are very happy to welcome for this 5th edition.

What are the synergies between Paréidolie and the extremely dynamic artistic scene in Marseilles (outside the walls at the Frac..)?

From the very beginning of PAREIDOLIE, we have been keen to rely on the (local) artistic scene and create strong synergies with the FRAC and the Marseille expos network. The FRAC is our partner from the beginning, it acts as a locomotive just like the Museums of Marseille that we associate with this return to contemporary art with exhibitions of remarkable quality such as that of Mark Dion last year at the Museum of Natural History, Hiraki Sawa in 2016 at the Grobet Labadié Museum, or the very beautiful exhibition curated by Gérard Traquandi that began relations between PAREIDOLIE and the Museums of the city in 2015. This year it is at the center of the Old Charity with Alex Cecchetti that we will meet again and at the FRAC of course.

Other structures are just as dynamic, those belonging to the Marseille expos network in particular but not only. The weekend of PAREIDOLIE we make discover to our guests (collectors and others) the galleries of the city by visiting the exhibitions registered in an event which we called the”Season of the Drawing” which gathers more than 20 exhibitions devoted to this medium. PAREIDOLIE is not only fully in line with the synergies of the artistic scene but reinforces them!

How does Paréidolie complement the Parisian drawing salons?

Drawing fairs have multiplied in the last 15 years, in Paris, Brussels, Amsterdam, soon in London… They all complement each other, because even if they give a tendency of the practice of the medium on an international scale, in a given time, each salon has its personality and puts forward a specificity, a”local color” I would dare say. At PAREIDOLIE the idea is to be exhaustive by giving the major trends with a very narrow selection despite everything. And the presence of drawing was missing in Marseille and its territory, the creation of the show was also thought to make up for that.

PAREIDOLIE was born from the will of people who are artists like Michele Sylvander, or at the service of artists, like Françoise Aubert within the Foundation Vacances Bleues, Lydie Marchi with Hydrib artistic programming platform, Céline Ghisleri through her texts on artists and her curatorships and myself with the programming for 20 years of the Château de Servières. The fact that the show is managed by such a team gives us a different approach to classical fairs, especially as we ensure all the unfolding and are present at each stage of the show. The other specificity certainly lies in the way the artists reside on the territory, each of whom knows the dynamism. These are White Cards offered at venues, guest artists, and associated programming. On my own scale, for the past 5 years I have devoted the exhibition that inaugurates my programme at the Château de Servières to drawing each autumn, and this year I have the pleasure of building a new project with Josée Gensollen.

Finally, tell us about your first encounter with drawing;

I have worked with drawing since I started working in contemporary art and I have realised that drawing is at the origin of all projects. Even when it comes to sculpture or installation, drawing gives shape to the first ideas thrown onto paper. The artists express themselves more by lines than words and it is these premises of the work that interested me, as close as possible to the original idea of the work and as close as possible to the artist’s gesture… Drawing is of course a practice in its own right and today thinking exhibitions with an entrance through drawing allows me to explore ever wider fields…

Marie-Elisabeth de La Fresnaye

After training in literature and art history, Marie de la Fresnaye entered the art market in Drouot and embarked on events. In parallel to several years in business in the field of editorial commun...

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