Jean-Philippe and Françoise Billarant have been engaged with minimalism, conceptual art, and geometric abstraction
Giulio Paolini, Qualcuno o qualcosa, 1988; Carl Andre, 55 Steel Rod Run, 1971; Günter Umberg, Asphaltum, 2004; Michel Verjux, Fronton, 2017; John Nixon, Untitled, 2002; Dove Allouche, IR 26, 2011
They don’t consider themselves pure collectors; they’re more artists’ companions and contemporaries. For over forty years the Parisian business couple Jean-Philippe and Françoise Billarant have been intensely engaged with Minimalism, Conceptual Art, and geometric abstraction.
Françoise & Jean-Philippe Billarant started to take interest in contemporary art in 1975. Their goal was not to collect works but to live in their time and get to know the artists. After having made some emotional purchases, they understood that art, like any discipline, had to be learned. So they read a lot, visited many museums in Europe and the U.S.A., and above all, met artists, art historians, curators, critics, and collectors. And so they focused on art that didn’t illustrate any sociological or political statement.
At the beginning of the ‘80s, this kind of art was not very sought after; the openings were small, which allowed them to approach and become friends with the great American and European artists. To show their admiration, they acquired their work, which was then financially possible. They didn’t try to represent the whole art scene, but instead focused on less than 50 artists, trying to follow their careers. At one point, it seemed obvious that they also had to display their work. This is when they started to look for an exhibition space. In the Paris area, less than half an hour from the ring road, they found a concrete grain silo dating from the 1960s, that they acquired in 2007. They transformed it with the help of Dominique Perrault (architect of the Bibliothèque François-Mitterrand) and the work was carried out in 2010 under the direction of Xavier Predine, then a very young architect.
Their first exhibition opened in 2011 and since then, Françoise & Jean-Philippe Billarant showcase parts of their collection to anyone interested in contemporary art; always by appointment, in person, and free of charge. They want to share their passion and tell visitors about these magnificent artists who became their friends.
Cécile Bart, Teatro Silo, 2017
Paul Czerlitzki, Delay, 2019; Untitled, 2017; September (01), 2016; Daniel Buren, Sans titre, juin 1972; François Morellet, π roccoco rouge 1=30°, 1998; Cécile Bart, Teatro Silo, 2017
Bertrand Lavier, Walt Disney Production n°2, 1947/1995; Bertrand Lavier, Arcades du Palais des Doges, 1975; Bertrand Lavier, Walt Disney Productionn°1, 1947/2008; Robert Barry, Group Portrait, 2006; Dove Allouche, IR 49, 2011; Krijn de Koning, Orange et blanche, 1998
Lawrence Weiner, A wall topped…, 1984; Krijn de Koning, Orange et blanche, 1998; François Morellet, Triple X neonly, 2012
Claude Rutault, d/m 478, auto-portrait , 1994; Stanley Brouwn, portrait double, 2001; Philippe Thomas, Une fiction qui fait l’unanimité, 1988; Robert Barry, Group Portrait, 2006
Carl Andre, Al-Cloud, 2001; Michel Verjux, Poursuite au mur fragmentée sur deux plans, 1989; Philippe Decrauzat, Folding, 2013
Carl Andre, Al-Cloud, 2001; Jan Kämmerling, Broken Ornament, 2013; Richard Serra, Double Rif II, 2014; Felice Varini, Carré bleu, jaune, rouge et noir au disque blanc, 2017; Véronique Joumard, Sans titre, 1993
Véronique Joumard, Sans titre, 1993; Richard Serra, Basic Source, 1987; Felice Varini, Carré bleu, jaune, rouge et noir au disque blanc, 2017
Véronique Joumard, Sans titre, 1993; Ernest T., Malevitch, 1987; Niele Toroni, Empreintes de pinceau n°50 répétées à intervalles réguliers de 30 cm, 2015; François Morellet, Beaming π 300AR,1=8°, 2002; Michel Verjux, Poursuite au pilier et au mur, 2014; Richard Serra, Basic Source, 1987
Carl Andre, 21 Pb Leaditer, 2003; Richard Serra, Clara Clara, 1985; Niele Toroni, travail/ peinture, empreintes de pinceau n° 50 répétées à intervalles réguliers de 30 cm, 1973/74; Alan Charlton, Four hole painting, 1970/74; Alan Charlton, Two hole painting, 1970/72; Claude Rutault, d/m 230, toile contre le mur, 1994-2011
Claude Rutault, d/m 102, éléments en ligne, 1976; François Morellet, Beaming π 300 AR, 1=8°, 2002; Michel Verjux, poursuite au pilier et au mur, 2014
Niele Toroni, Empreintes…1987; Empreintes… 1989; Lecture/peinture, empreintes… de 1971 à 1976; Un triangle pour un silo, 2011
Carl Andre, 21Pb Leaditer, 2003; Günter Umberg, Untitled 2010, 1993-2008, 1989, 1999; Michel Verjux, Fronton, 2017; Claude Rutault, d/m 102, éléments en ligne, 1976; Bertrand Lavier, Sans titre, 1988; Günter Umberg, Untitled, 2015
Carl Andre, Anion, 1988; Dove Allouche, Pétrographies RSM 6, RSM 7, RSM 8, 2015; Niele Toroni, Empreintes de pinceau n° 50 répétées à intervalles réguliers de 30 cm, 1994
Carl Andre, Les Ready-made appartiennet à tout le monde – Advertising, advertising, 1988; Massimo Minini, Code barre, 1991; Dyptique, 1989; Bertrand Lavier, Bleu ciel par Tollens et Ducolac, 1988; François Morellet, Trple X neonly, 2012
Michel Verjux, Découpe en douche sur socle et sol, 2005; On Kawara, date painting, 1987; Daniel Buren, Papiers collés pour trois murs, May 1972; John McCraken, Untitled, 1986; François Morellet, +1°-1°, 1971
Günter Umberg, Untitled, 2015; Wolfgang Laib, The rice meals for a stone, 1986; Maison de riz, 1987; Maison de riz, 1988; Maison de riz, 1989; Untitled, 1995; Nirgendwo, 1995
Bertrand Lavier, Sans titre, 1988; Giulia, 1984; Daniel Buren, Pièce montée sous forme de store, 1973; Bertrand Lavier, Peinture blanche, 1983; Raymond Hains, Sans titre, 1962
Claude Rutault, d/m 102, éléments en ligne, 1976; Fred Sandback, Untitled (Four part construction), 2000; Claude Rutault, d/m 106 autour du non-peint, 1979; Carl Andre, 21Pb Leaditer, 2003; Daniel Buren, Pièce montée sous forme de store, 1973; Bertrand Lavier, Sans titre, 1988; Raymond Hains, Sans titre, 1962; Seita, 22 février 1968
Carl Andre, Alomado, 2004; Robert Barry, Untitled, 2016; Michel Verjux, Découpe en douche sur socle et sol, 2005; Daniel Buren, Papiers collés pour trois murs, mai 1972; John McCraken, Untitled, 1986; François Morellet, +1°-1°, 1971; Cécile Bart, Teatro Silo, 2017; Michel Verjux, Fronton, 2017
Alan Charlton, Painting in 20 parts, 1990; Untitled, 2002; Untitled, 1983
Fred Sandback, Untitled, 1967-89; Dan Flavin, Untitled, 1964; Fred Sandback, Untitled, 1977-96
Felice Varini, Carré bleu, jaune, rouge et noir au disque blanc, 2017; Véronique Joumard, Sans titre, 1993
