Name: Gilles DyanHailing from: ParisPresides over: Opera Gallery’s network of 12 contemporary art galleries around the worldGallerys’ specialty: Modern masters and contemporary artArtists represented: Pierre Soulages, Andre Brasilier, Joe Black, David Mach, Richard Macdonald…to name a few. When did you get into the art business?I opened the first Opera Gallery in Singapore in 1994. I had some good friends who were artists and I wanted to take care of them. I opened in Singapore after exhibiting in the first art fair organized there. At that time the art market in Europe was very slow, but business was very good during the fair so I decided to open the gallery a few months later.Who was the first artist you chose to represent?We no longer work with the artists that we first chose to represent 20 years ago. Two artists that we started working with from the very beginning are Ernesto and Cathelin. After the death of Ernesto’s mother the artist fell into a deep depression, which halted his creativity. And Cathelin has since passed away.How did you grow your business?It took six years to really begin to develop Opera to what it has now become. In 2000, I bought out my ex-partner and took over the business. We began opening one gallery each year. From the beginning I wanted to develop a network of galleries situated in the artistic and financial capitals of the world. We now have 12 galleries in some of the best locations; the concept we have is unique in the art industry: we offer masterpieces that span the 20th century as well as contemporary and upcoming artists. Our collection spans from Impressionism, like Pierre-Auguste Renoir and Monet, to American pop art, such as Andy Warhol and Roy Lichtenstein, with a price range from 10,000 Euros to 10 million Euros.You just relocated to a new venue in Paris.Yes, the building that housed Opera gallery for 19 years was recently bought by LVMH, so we have just relocated to the best space in Faubourg, Saint Honore. The space used to be Versace’s in the ‘80s and La Maison Du Bonheur (the house of Roger Gallet the perfumer) in the ‘30s. The new space is 10,000sqf with a 2,000sqf terrace and an expansive 30-meter window which is an incredible showcase for our artists.Do all your galleries have the same feel to link them as an Opera gallery?The rest of our locations are very different in style and aesthetic. We don’t have a ‘corporate identity’ as such; we adapt to suit the environment and location, we want to have a different feel with the actual gallery space itself. Our brand DNA truly comes from our mix of contemporary artists and modern masters, artists such as Picasso, Chagall, Miro, Kandinsky, Giacometti etc.What was the greatest challenge in the first years?The greatest challenge was to find solutions to develop the network in the best locations, then to find investors. After that we then needed to develop networks of international collectors.What would you do differently today?I wouldn’t do anything differently.Do you still remember your first big triumph?My first big triumph was a commitment from a huge Asian collector. He gave me quite a large budget to help him develop his personal collection, which he wanted me to oversee. Even to this day (16 years later) we are still advisers for him and his family.What criteria are important to you when deciding whether or not to represent an artist?We look for artists with international status. For the younger artists that we contract we look for originality in terms of technique and creativity. We try to project the long-term potential of an artist.How has the art market changed since you entered the business?It’s changed a lot in the past 20 years! There are more and more collectors, art has become fashionable; so many people are now buying. The market used to be more concentrated in Japan and the US, now we sell to collectors all over the world, it’s become very global. There are more and more art foundations, private museums etc. and this is very positive for the market. On the negative side, auction houses now hold more and more private sales, competing with galleries.What does a good gallerist need to be able to do?Give good advice to their collectors and take complete care of their artists on the marketing and financial sides.And what should a good gallerist never do?You should never exhibit artists if you don’t have faith in their works.What was the last piece of art that thoroughly impressed you and why?A sculpture by David Mach. Made completely of coat hangers, it stood at seven meters high.Which era in art history would you like to time travel to, if you could?I would love to go back to just after the war in the ‘50s. During that period there was an explosion of artist ideas such as Abstraction, Art Brut, and New Realism.Which historical figure would you like to share a drink with and where?Picasso at la Colombe d'Or in Saint-Paul-de-Vence.If you weren’t a gallerist, you’d probably be …A music producer.Art is….timeless and universal.
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