stArter promotes the work of numerous artists among which the drawings of Claire Trotignon:
Aurélie Dablanc & Anne-Marine Guiberteau met in the Metz Centre Pompidou, when it opened ten years ago. Following the Guggenheim Museum in New York which created an “annexe” in Bilbao (in the Basque region of Spain) and contributed to the rebirth of the city, it was decided to create for the Centre Pompidou (the famous French national modern art museum located since 1977 in the Rogers and Piano building made of colourful tubes and wires, in the heart of Paris), more than an extension, an independent second self designed by Shigeru Ban and Jean de Gatine. To this “new Pompidou” was given the ability to use the incredible stocks of the Pompidou mother institution. Aurélie and Anne-Marine were part of this adventure (and let’s not hide it, so was I). Since then they both have done a lot of incredible things: working for several other prestigious cultural institutions and on exhibitions curatoring for all kinds of audiences.
But they wanted to do more. As the pioneers they are, they wanted to be part of a process of cultural democratisation, to bring arts (& also crafts in a near future) to places usually devoid of anything cultural, or even only visual. stArter was born from this idea of “Frontier”, of virgin territories to conquer. Their concept was to bring arts to businesses, to ease the process of coupling economics and culture and to transform business owners into involved patrons, thanks to a witty program, gathering art acquisition, art rental, art & design masterclasses, art events indoors and outdoors, art seminaries and team-buildings, and last but not least, redesigning of the spaces.
Why this enigmatic name: stArter? It’s a compression of :
- the energy of the economical world: starting blocks, start ups…
- the word Art with a big A: let’s not be afraid of it.
The frescos of Valentina Canseco:
The paintings of Yann Lacroix:
The visual experiments on matter of Capucine Vandebrouck: