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Marines  |  France  | 

Time & Architecture

Over the past three decades the Billarant’s have been deeply involved with collecting conceptual art, minimalism, and geometric abstraction.

Located in a former grain silo in the northwest of Paris, Le Silo highlights years of friendship and support for artists, in particular Carl Andre, Robert Barry and Michel Verjux, who have all played a central role in the shaping of the collection. In fact, the Billarant’s do not think of themselves as “pure collectors”, but rather “artist companions and contemporaries”, a sentiment that is shown with the act of the artists expressing their gratitude to Jean-Philippe and Françoise by creating site-specific installations specifically for the 1948 grain silo turned exhibition space.

In their second online exhibition on IC, we share more installation views from Le Silo.

(l–r) JOHN MCCRACKEN, Oasis , 1989; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale, 1991; KRIJN DE KONING, Blue Drawing, 2015; FRED SANDBACK, Untitled, 1977-1996; GÜNTHER UMBERG, Untitled, 2015; Untitled, 1977. Photo: André Morin
(l–r) JOHN MCCRACKEN, Oasis , 1989; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale, 1991; KRIJN DE KONING, Blue Drawing, 2015; FRED SANDBACK, Untitled, 1977-1996; GÜNTHER UMBERG, Untitled, 2015; Untitled, 1977. Photo: André Morin
(l–r) CÉCILE BART, Diego, 2015; FRED SANDBACK, Untitled, 1977; MICHEL VERJUX, Ouverture à la Baie, Tangente Sol Plafond, 2014; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale, 1991. Photo: André Morin
(l–r) CÉCILE BART, Diego, 2015; FRED SANDBACK, Untitled, 1977; MICHEL VERJUX, Ouverture à la Baie, Tangente Sol Plafond, 2014; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale, 1991. Photo: André Morin
PHILIPPE DECRAUZAT, Folding , 2013. Photo: André Morin
PHILIPPE DECRAUZAT, Folding , 2013. Photo: André Morin
(l–r) FRANÇOIS MORELLET, Lunatique  Neonly, 2001; CARL ANDRE, Silence, 2005; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale , 1991. Photo: André Morin
(l–r) FRANÇOIS MORELLET, Lunatique Neonly, 2001; CARL ANDRE, Silence, 2005; FRANÇOIS MORELLET, Angle Droit Horizontal, Hypoténuse Verticale , 1991. Photo: André Morin
(l–r) KRIJN DE KONING, Blue drawing , 2015; GÜNTHER UMBERG, Untitled, 2015. Photo: André Morin
(l–r) KRIJN DE KONING, Blue drawing , 2015; GÜNTHER UMBERG, Untitled, 2015. Photo: André Morin
KRIJN DE KONING, Blue drawing , 2015. Photo: André Morin
KRIJN DE KONING, Blue drawing , 2015. Photo: André Morin
(l–r) PETER DOWNSBROUGH, AND/ AND, 1993. Photo: André Morin
(l–r) PETER DOWNSBROUGH, AND/ AND, 1993. Photo: André Morin
(l–r) CARL ANDRE, Seven Steel Row, 1975; ROBERT BARRY, Untitled, 1997; MICHEL PARMENTIER, 29 Septembre 1983; LAWRENCE WEINER, From Major to Minor, From Small to Large, 1974. Photo: André Morin
(l–r) CARL ANDRE, Seven Steel Row, 1975; ROBERT BARRY, Untitled, 1997; MICHEL PARMENTIER, 29 Septembre 1983; LAWRENCE WEINER, From Major to Minor, From Small to Large, 1974. Photo: André Morin
(front) CARL ANDRE, Silence, 2005. (back l–r)ANGELA DETANICO & RAFAEL LAIN, Le Jour le Plus Long, le Jour le Plus Court, 2012; VÉRONIQUE JOUMARD, Solarium, 2006; MAURIZIO NANNUCI, Which Ever Word, 2013; DON JUDD, Untitled, 1989; JOHN MCCRACKEN, Oasis , 1989. Photo: André Morin
(front) CARL ANDRE, Silence, 2005. (back l–r)ANGELA DETANICO & RAFAEL LAIN, Le Jour le Plus Long, le Jour le Plus Court, 2012; VÉRONIQUE JOUMARD, Solarium, 2006; MAURIZIO NANNUCI, Which Ever Word, 2013; DON JUDD, Untitled, 1989; JOHN MCCRACKEN, Oasis , 1989. Photo: André Morin
(l–r) BERTRAND LAVIER, Walt Disney productions n°5, 1947-1985; Walt Disney productions n°1, 1947-1984; Walt Disney productions n°2, 1947-1995; Walt Disney productions, 1987. Photo: André Morin
(l–r) BERTRAND LAVIER, Walt Disney productions n°5, 1947-1985; Walt Disney productions n°1, 1947-1984; Walt Disney productions n°2, 1947-1995; Walt Disney productions, 1987. Photo: André Morin
(l–r) MICHEL VERJUX, Ouverture à la Baie, Tangente sol Plafond, 2014; FELICE VARINI, Trois Carrés Évidés, Rouge, Jaune et Bleu, 2011. Photo: André Morin
(l–r) MICHEL VERJUX, Ouverture à la Baie, Tangente sol Plafond, 2014; FELICE VARINI, Trois Carrés Évidés, Rouge, Jaune et Bleu, 2011. Photo: André Morin
DANIEL BUREN, Cabane Éclatée n° VIII, une Enveloppe Peut en Cacher une Autre, 1989. Photo: André Morin
DANIEL BUREN, Cabane Éclatée n° VIII, une Enveloppe Peut en Cacher une Autre, 1989. Photo: André Morin
(l–r) STANLEY BROUWN, 1 Pied et 1 Pied et 1 Pied; 2 Pieds et 2 Pieds et 2 Pieds; 3 Pieds et 3 Pieds et 3 Pieds; PETER DOWNSBROUGH, And, Red Square, 2013; DANIEL BUREN, 25 Lattes, 1988. Photo: André Morin
(l–r) STANLEY BROUWN, 1 Pied et 1 Pied et 1 Pied; 2 Pieds et 2 Pieds et 2 Pieds; 3 Pieds et 3 Pieds et 3 Pieds; PETER DOWNSBROUGH, And, Red Square, 2013; DANIEL BUREN, 25 Lattes, 1988. Photo: André Morin
(front–back) VÉRONIQUE JOUMARD, Solarium, 2006; MAURIZIO NANNUCI, Which Ever Word, 2013. Photo: André Morin
(front–back) VÉRONIQUE JOUMARD, Solarium, 2006; MAURIZIO NANNUCI, Which Ever Word, 2013. Photo: André Morin
CLAUDE RUTAULT, d/m 120 Réplique aux Trois Monochromes de Rodchenko, Avec Table, 1985. Photo: André Morin
CLAUDE RUTAULT, d/m 120 Réplique aux Trois Monochromes de Rodchenko, Avec Table, 1985. Photo: André Morin
(l–r) DANIEL BUREN, 25 Lattes, 1988; NIELE TORONI, Empreintes de Pinceau n° 50 Répétées à Intervalles Réguliers de 30 cm, 1981; CARL ANDRE, Seven Steel Row, 1975; ROBERT BARRY, Untitled, 1997. Photo: André Morin
(l–r) DANIEL BUREN, 25 Lattes, 1988; NIELE TORONI, Empreintes de Pinceau n° 50 Répétées à Intervalles Réguliers de 30 cm, 1981; CARL ANDRE, Seven Steel Row, 1975; ROBERT BARRY, Untitled, 1997. Photo: André Morin
(l–r) NIELE TORONI, Travail / Peinture, Mobile Pour Garage d’Automobile, 1978; CARL ANDRE, Mons Veneris, 1975; NIELE TORONI, Empreintes de Pinceau n° 50 Répétées à Intervalles Réguliers de 30 cm, 2011; FRANÇOIS MORELLET, Sphère Trame, 1962-1967. Photo: André Morin
(l–r) NIELE TORONI, Travail / Peinture, Mobile Pour Garage d’Automobile, 1978; CARL ANDRE, Mons Veneris, 1975; NIELE TORONI, Empreintes de Pinceau n° 50 Répétées à Intervalles Réguliers de 30 cm, 2011; FRANÇOIS MORELLET, Sphère Trame, 1962-1967. Photo: André Morin
(l–r) JOSEPH KOSUTH, Art as Idea as Idea, 1967; ALAN CHARLTON, Three Slot Painting, 1970/74; DON JUDD, Untitled, 1969. Photo: André Morin
(l–r) JOSEPH KOSUTH, Art as Idea as Idea, 1967; ALAN CHARLTON, Three Slot Painting, 1970/74; DON JUDD, Untitled, 1969. Photo: André Morin
Exterior of Le Silo. Renovated by Xavier Predine. (on the front)LAWRENCE WEINER, Two Stones Tossed into the Wind (causing sparks ), 1988
Exterior of Le Silo. Renovated by Xavier Predine. (on the front)LAWRENCE WEINER, Two Stones Tossed into the Wind (causing sparks ), 1988

Le Silo is included in the Art Guide.