Amorepacific has been devoted to ‘contributing to humankind by creating beauty and health through technology and devotion’. This vocation changed over time. Now, as part of our mission of “We make A MORE beautiful world,” we are committed to discovering unique beauty and its potential. At Amorepacific, we are taking one step at a time to create a world of New Beauty, where everyone is encouraged to discover and appreciate their own true, natural beauty. There are people who share a similar path, those who are building an empire of beauty of their own. News Square visited and interviewed those who are creating beauty in different areas of the world.

Our sixth interviewee is Sophie Mainier Jullerot, the director at Galerie Mouvements Modernes, a modern design gallery in Paris.

Paris, one of the world's renowned art destinations, is also a battleground for internationally recognized galleries. With the launch of Art Basel, under the name ‘Paris Plus,’ galleries that have held somewhat conservative attitudes have been opening their doors to contemporary art and design. In the competitive art scene of Paris, where galleries strive to catch the attention of collectors, Galerie Mouvements Modernes stands out with its distinctive footprint.

In Paris, you will find most galleries located around the vicinity of Palais de l'Élysée or Saint-Germain-des-Prés. However, Galerie Mouvements Modernes operates in a pop-up format, changing s for each exhibition. As its name suggests, it is a gallery that is constantly on the ‘move.’ From design editions by contemporary artists like Eva Hild and Thomas Lemut to design works from the 1980s and 1990s, and even paintings by artists Danielle Busarello and Vanessa Seward, each exhibition takes place in different venues, showcasing works that incorporate both design and painting. Recently, the Galerie has built a discreet space in the Palais Royal Gardens, but this is not intended for exhibitions. Instead, it serves as a café-like space to welcome collectors visiting Paris. Leading Galerie Mouvements Modernes with her fresh eye and taste is the young gallerist, Sophie Mainier Jullerot.

We met Sophie Mainier Jullerot and heard about her daily life and career as a gallerist, as well as her thoughts on art.

Q. The exhibition commemorating the 20th anniversary of the gallery opening last year was particularly impressive. Please tell us about the history of Galerie Mouvements Modernes.

Galerie Mouvements Modernes was founded in 2002 by Pierre Staudenmeyer. It was a continuation of his first gallery, Néotù, which closed its doors in 2001. Through Néotù, Staudenmeyer introduced nearly 900 works over a span of 15 years, and interestingly, many of the works showcased at that time were works by iconic designers from the 1980s and 1990s. As an editor, design theorist and critic with a unique eye for art, Staudenmeyer shared his love for 20th-century decorative arts, particularly ceramics from the 1950s, and contemporary design with the public, which is what inspired him to establish Galerie Mouvements Modernes. He organized retrospective exhibitions for Nanda Vigo, Valentine Schlegel, and Kristine Mckirdy, produced the first edition of Rock d'Arik Levy, and showcased works by Andrea Branzi. I first met Staudenmeyer in 2004 thanks to his personal contemporary collection. For three years starting in 2005, we shared our love of decorative arts, ceramics, and design. Since 2008, I have been in charge of Galerie Mouvements Modernes on behalf of Staudenmeyer. Currently, the Galerie focuses on promoting iconic works curated by Staudenmeyer during the Néotù Galerie era, particularly from the 1980s and 1990s, as well as ceramic, glass, and painting works by contemporary artists.

Q. Galerie Mouvements Modernes takes a completely different approach from traditional galleries, which hold exhibitions on a regular basis in fixed s. Instead, your Galerie hosts exhibitions in beautiful spaces, often in a pop-up format.

Yes, that's correct. It all started with Staudenmeyer's desire to change the traditional approach to how galleries are run: in a single space. The first exhibition took place in an Ottoman-style apartment located in the 8th arrondissement. Running a gallery in such a way puts a greater emphasis on the theme of the exhibition as well as the event itself. In addition, the changing surroundings where the artworks are displayed create a foundation for new inspirations and motivations for collectors, which I believe is what collectors these days truly seek.

Q. The exhibition “l'Appartement de Madame L.” held in 2021 received a great response. The well-preserved old studio in the 7th arrondissement of Paris is what made the exhibition extra special. Your projects always seem to raise anticipation among art lovers especially with regards to where they will be held next.

The exhibition was such a success that I still receive requests to visit the space. As the scale of projects grows, so does the need to find suitable s, and we continue to work with experts to find exhibition spaces. One of the proposed s was the apartment where the “l'Appartement de Madame L.” exhibition was held. It was particularly fascinating because it had been untouched for decades, maintaining the charm as both an artist's studio and a private residence. It’s as if you feel the strong presence of its guardian spirit when you walk into the place, and I believe it was an incredibly perfect space for the exhibition.

Q. You seem quite young to be running a gallery. How did you become a gallerist?

During my high school years, I had the chance to see the collections at the Pompidou Center, which sparked my dream of working in the art scene. My younger self was particularly impressed by the passion and dedication of docents working at the Pompidou. Studying at the École du Louvre, a prestigious institution in France that trains art history experts, and later earning a Master’s in Art Management, happened very naturally and seamlessly. It was during my time working at Galerie Chez Valentin, after working at the Pompidou Center, that I had the opportunity to meet collector Pierre Staudenmeyer as a client. And that encounter was career-changing, to say the least.

Q. It sounds like your encounter with Staudenmeyer had a profound impact on your career.

The encounter with him and the subsequent three years of working together hold great significance in my career. Thanks to him, I learned a lot about the history of decorative arts and how to perceive and understand objets and artworks. He had a free and independent perspective of the art world, and he shared his enriched artistic experiences through the Galerie. I was greatly influenced by Staudenmeyer's unique approach, which has set Galerie Mouvements Modernes apart from other galleries in how it introduces art across various fields, such as decorative arts, design, painting, and even furniture.

Q. As someone who runs a gallery, what do you believe is the role of a gallerist? Also, what role and influence do gallerists play and assert in today’s art market?

Gallerists have a broad range of responsibilities. Without a doubt, the most prioritized job of all is collaborating with artists. Representing them in the art market requires an understanding of both the world and the artwork. I constantly share ideas with artists to ensure the success of our projects. Communication is another vital aspect of this role. The role of communication in reaching the public through platforms like social media, press, and publishing to promote artists and projects is extremely important. The ultimate goal of this line of work is to create and maintain relationships with the collectors who share our vision and passion for art. In addition, throughout all stages of a project, I need to constantly analyze the market and stay on top of the trends. Paying close attention to all things that are happening in the art market, from major exhibitions to auctions and publications, is a must in developing a comprehensive perspective.

Q. What qualities are required to be a good gallerist?

Curiosity, which helps you engage in genuine, enthusiastic interactions with artists and collectors; courage, which encourages you to take risks; and, above all, a passionate attitude.

Q. I understand that Gallery Movement Modern introduces works and design editions of contemporary artists in addition to design works from the 1980s and 1990s. How do you find artists to work with? Do you have a special eye for recognizing good artists?

Currently, Galerie Mouvements Modernes represents 15 artists. Sometimes we initiate projects ourselves, while at other times artists approach us first. The best way to recognize promising artists is through research. I wouldn’t be exaggerating if I said that I spend almost all day doing research. We explore exhibitions of all genres and categories, ranging from graduate shows held at universities to global art events like the Venice Biennale, exhibitions at art institutions, and even social media platforms. In today's world, all these exhibitions serve as fantastic art catalogs with easy accessibility to the public, and I use them meticulously as references.

Q. The Galerie's identity seems to be rooted in design even though it does also introduce paintings. How is the design art market different from the traditional art market that primarily represents paintings and sculptures?

Today, the design art market and the traditional art market are quite similar. For instance, decorative art, design pieces, and paintings, are all handled together in venues such as auction houses, art fairs, and design fairs. Collectors have been interested in decorative art and design for a long time, and the decorative art and design market is growing to the extent that renowned collectors are submitting the works they own for auction.

Q. How would you, as a gallerist and as an individual, define beauty?

I believe that the definition of beauty varies from person to person. And what’s beautiful is that each of us has our own definition of beauty, since beauty is based on diversity. We all have our unique qualities, and beauty is no exception. No respect for diversity would be no respect for beauty. From a more personal perspective, beauty to me is the feeling of satisfaction and pleasure that can be found anywhere, be it in people, artworks, or environments. It is also one of the reasons I find happiness in doing this work.

Q. Is there anything you would expect from Amorepacific, a company that pursues beauty just like Galerie Mouvements Modernes? As a company that creates beauty, what do you believe the role of Amorepacific should be today?

I believe the key is in demonstrating a respectful attitude towards both humans and nature, without losing the balance between the two. The well-being, which comes from the balance, is what I believe to be the essence in making our lives happy and healthy.