"I aim to collect meaningful pieces, not just brands or big names," says Paris-based collector and entrepreneur Paul-Emmanuel Reiffers. He's looking to create a museum-like promenade in his home, adorned with works by Rashid Johnson, Louise Bourgeois, and David Hammons. The most important factor, he confirms, "is quality."
That exacting eye extends into the office, where Reiffers leads creative agency Mazarine and events production company La Mode en Images, which recently opened an equally art-filled New York outpost (think Amoako Boafo, Glenn Ligon, and Jean-Michel Othoniel). Reiffers delves even deeper into the art world with the Reiffers Arts Initiative, founded in 2021, with which he supports emerging French artists by providing critical infrastructure. Thirty artists are selected annually for inclusion in exhibitions, grant programs, and mentorship opportunities.
Across the pond, Reiffers attests to a recent revitalization of the French scene, one focused on fostering a new generation of artists. Here, the patron sits down with CULTURED to get to the root of this simmering energy, and his role in calling it forth.
Where does the story of your personal collection begin?
My personal collection began with French artists. The first two I collected were Gérard Garouste, whom I knew because of his celebrated status in the 1990s—he had even designed the décor of the Palace, an iconic nightclub that was as much a cultural and fashion landmark as Studio 54 in New York—and the Lalannes, whom I was fortunate enough to meet at just 26 years old.
Later, my collection evolved into something much more specialized and personal, focusing on American artists who work between abstraction and conceptual art, like Christopher Wool, Wade Guyton, Ed Ruscha, Rashid Johnson, and Lorna Simpson.
Which work in your home provokes the most conversation from visitors?
The piece that sparks the most conversation in my home is a "tarp painting" by David Hammons, which I’ve placed right in the center of my living room. It’s a powerful, impactful work that leaves no one indifferent. At once conceptual, anti-artistic, and deeply artistic, the piece features a painting obscured under a tarp—an unconventional act that immediately grabs attention.
The tarp, with its movement and placement, becomes the focal point, while the painting underneath—evoking a [Willem] de Kooning or what could be a de Kooning—remains hidden. Hammons uses this work to critique the historical invisibility of Black artists. His question is piercing: Would a Black “de Kooning” have received the same recognition? By concealing the painting behind a tarp—traditionally a tool used by Black American house painters—Hammons makes a powerful statement about erasure and visibility in the art world.
What do you think makes the Parisian art scene distinct?
I believe that over the past 10 years, the French art scene has been revitalized by a new energy, driven by private investors and the establishment of foundations like François Pinault’s Bourse de Commerce and Bernard Arnault’s Fondation Louis Vuitton. These influential players have shown entrepreneurs the importance of collecting art and, most notably, supporting and showcasing French artists. When you invest in your country’s artists, you stimulate and sustain the entire contemporary art ecosystem. This has led, in recent years, to the emergence of a new generation of exceptionally talented French artists.
Which artist are you currently most excited about and why?
Like many collectors, I’m most excited by the artists I don’t yet have! One artist I absolutely adore is Michael Armitage. His work is extraordinary, and since he doesn’t produce many pieces, each one is incredibly special—similar to Peter Doig’s work. Armitage, a Kenyan artist, paints intense yet poetic scenes of East African landscapes and moments. There’s a brutality and beauty in his work that deeply moves me.
How has your work with the Reiffers Arts Initiative changed the way you approach collecting?
It has profoundly shifted my perspective. Now, instead of relying solely on personal taste, I ask myself if the artist aligns with the foundation’s curatorial vision and if their work has the impact to be exhibited. I also consider whether they have the charisma and recognition to mentor emerging artists in our mentorship program. Artists like Rashid Johnson, Lorna Simpson, and more recently Ugo Rondinone have all been incredible mentors for the foundation. I also collect young emergent artists, like Pol Taburet, Dhewadi Hadjab, or Ser Serpas.
What is the strangest negotiation you’ve ever had with an artist or dealer?
It happened when I was 26, during a visit to Claude and François-Xavier Lalanne’s home with a group of friends. After walking through their garden, I fell in love with a pair of extraordinary Lalanne monkeys and decided I wanted to buy them. At the time, prices were far more accessible, but I was still young and intimidated—especially since there was no gallery acting as an intermediary.
When we all gathered around a garden table, I hesitantly asked, “What’s the price?” Claude responded playfully: “Let’s do this—write down the price you’re willing to pay on a piece of paper, and I’ll do the same. We’ll compare.” It was completely disarming but also incredibly poetic. I remember carefully writing down the maximum I could afford—without going overboard and or making myself look like a fool in front of everyone. We exchanged papers, and when Claude opened mine, she smiled and said, “I wrote the same thing.” It was an unforgettable experience and one of the first serious acquisitions I made, after my initial purchase of a painting by Garouste.
What are the three must-see shows this month?
Don’t miss: "Arte Povera" at the Bourse de Commerce, "Pop Forever: Tom Wesselmann & …" at the Fondation Louis Vuitton, [and] "Praesentia" by Myriam Mihindou at the Palais de Tokyo.
What piece of advice would you give someone who wants to get into collecting?
Be passionate. Start with a beautiful piece that you love—something that resonates emotionally and that you want to live with. In the beginning, you may buy less expensive works, but it’s essential to stay informed and train your eye to recognize quality. Above all, always trust your instincts and buy what you love.
