Who is Tiqui Atencio Demirdjian?
Tiqui Atencio Demirdjian, hailing from Venezuela, embarked on her journey as an art collector at the tender age of 18. Her initial acquisitions included a striking Valerio Adami piece, known for its vibrant colors and impeccable composition, as well as a captivating work by Emilio Boggio. However, her fascination with art was ignited even earlier, as her father gifted her a painting by the renowned French artist Bernard Buffet, setting the stage for her enduring passion for collecting.
Throughout her career, Demirdjian has contributed her expertise to various prestigious art institutions. She has played a vital role as a member of the board of directors for the Mustique Company and has been an active participant in the acquisition committees of esteemed institutions like the Guggenheim Museum and Tate Modern. Her commitment to the world of art has been marked by her discerning eye, unwavering dedication, and a lifelong devotion to the craft of collecting.
Interview with Tiqui
At the age of 17, you acquired your first piece of art. What was it about that artwork that captivated you?
It was a gift from my father, a work by Bernard Buffet. I was immediately drawn to it, prompting me to delve into learning about the artist. Subsequently, my uncle became my mentor in the world of art. He was like a father figure to me, and I grew up with him and his wife in Venezuela. He was a renowned collector of contemporary Latin American and historical art, and his second home was comprised of auction houses like Christie's and Sotheby's, as well as museums. Whenever our families gathered on Sundays, visits to galleries were always part of the agenda.
That's how I began acquiring art, guided solely by my personal preferences. Each time I purchased something, I would naturally explore more about the artist behind the work. My uncle had a similar approach; he would only acquire pieces if he had a deep affinity for the artist. Gradually, what I had amassed unknowingly transformed into a collection. At the time, I didn't even consider myself a collector. When people would ask to see my collection, I would respond, "What do you mean, the art on my walls?" (laughter). I still find it somewhat challenging to embrace the label, but I suppose I am a collector because I continue to acquire art regularly.
What led you to select paintings by Valerio Adami and Emilio Boggio for your initial art acquisitions at the age of 18?
My initial art purchases were driven by pure spontaneity and a lack of art expertise. I was drawn to these works purely based on their visual appeal and resonance with me at the time.
When it comes to the artists in your collection, do you gravitate more towards emerging talents or established figures?
My collecting journey has been strongly influenced by the places I've lived. In the 1980s, during my time in New York, I acquired works by artists like Agnes Martin, Brice Marden, and Jean-Michel Basquiat. Later, when I lived in Europe and met my husband in Paris, I primarily collected French artists. In the late 1980s, we relocated to London, coinciding with the rise of the Young British Artists, and I added pieces by Damien Hirst, Gary Hume, Tracey Emin, and Rachel Whiteread to my collection. Over the past few years, as I've traveled extensively, the scope of artists in my collection has become less regionally focused and more diverse and eclectic.
Is there a specific type of art that consistently captivates you, or is there a common thread that ties together all the works in your collection?
My primary focus has been on Latin American modern and contemporary art. However, I've also developed a passion for mid-century furniture and ceramics, including designs by notable figures such as Jean Prouvé, Charlotte Perriand, George Nakashima, George Jouve, Le Corbusier, and Pierre Jeanneret. This broadens the spectrum of artistic forms that resonate with me and are represented in my collection.
Do you have a preferred artistic period?
I don't have a specific preference for any particular artistic period, but I do have a deep appreciation for geometric abstraction. My taste is quite eclectic, possibly influenced by my frequent relocations. I was born in Venezuela but have lived in New York, studied art in Rome, resided in Paris and London, and now call Monaco home. I've always had a somewhat nomadic spirit.
How do you go about selecting the artworks for your home's display, and do you frequently change them?
While I do change individual artworks within my collection regularly, I maintain a consistent display arrangement. Typically, I begin with a central artwork that I view as the anchor for a particular room. From there, I carefully curate the surrounding pieces, ensuring there is a meaningful dialogue and an aesthetic harmony among them.
When it comes to making an art purchase, what factors influence your decisions, and how much do you rely on art advisors?
The decision to acquire a work of art often arises from a deep emotional connection or an overwhelming sense that "I must have it." In my book, there's a chapter titled "I gotta have it" that delves into this feeling. However, it's essential to balance this emotional connection with informed decisions. To do so, you should acquaint yourself with the artists and their bodies of work. Study their oeuvre to identify the pieces that resonate most with you. Additionally, explore other artists from the same period to provide context.
Conducting thorough research is crucial, which includes consulting the artists' galleries, utilizing reputable internet resources such as artnet, and delving into relevant literature. When acquiring art, diligence is paramount. Visit museums, attend gallery exhibitions, read extensively, and hone your discerning eye. Don't hesitate to seek guidance and insights from fellow collectors, curators, or anyone who can contribute to your art education.
How much does it matter to you to personally meet the artists behind the artworks you own?
Meeting the artist is a rewarding experience as it provides insights into the work I own and enhances my understanding of their creative process. However, it is not absolutely essential for me; I can appreciate and connect with the art even without a direct meeting with the artist.
Could you share which artwork in your collection holds the most significant personal value to you?
Selecting a single most treasured artwork is a challenging task because each piece in my collection carries a unique story and holds a special place in my heart. However, if I were to choose, I'd say that 'Devil Angel' by Ed Ruscha occupies a special and meaningful spot among my collection.
How would you distinguish between an art buyer and an art collector?
Collecting art involves a deeper level of commitment and consciousness compared to merely buying art. It requires dedication and passion for the art form. However, the world of art collecting is diverse, with various approaches. Some collectors opt for a focused approach, delving deeply into one specific artist or artistic area, while others prefer a broader perspective, exploring a wide range of artists and styles. Collectors often draw inspiration from their life experiences, places they have lived, and their personal heritage, making their collections a reflection of who they are and the journey they have undertaken.
Which recent artists have you added to your collection?
I recently acquired a piece by the Brazilian artist Erika Verzutti, who had an exhibition at the Pompidou in Paris. Given my affinity for Latin American art, I found her work particularly intriguing. She possesses a deep intellectual approach to her art, and her conceptual style resonated with me. During my visit to Paris, I acquired a remarkable piece of her art.
Additionally, I've added work by Sean Scully, an Irish-born American artist.
What do you foresee as upcoming art trends in the next decade?
I believe technology will play a significant role in the art world's evolution in the coming years. Throughout history, we've witnessed how art continually transforms. We cannot ignore the impact of technology on the newer generations, particularly millennials. It's essential to closely observe their artistic endeavors.
The natural progression of art will embrace technology, but traditional art forms such as painting, sculpture, and handmade creations will persist. We must acknowledge that we live in a technological era and incorporate it into the art landscape.
What are your thoughts on digital art?
Digital art is undeniably intriguing. It might seem somewhat gadget-oriented to me, but I also recognize that, in the hands of the right artist, it has incredible potential. I refrain from saying "no" to any art form because I believe that not acknowledging art can lead to missed opportunities. I prefer to remain open-minded, as I wouldn't want to regret dismissing an art form in the future.
What advice would you offer to budding and novice collectors?
For those embarking on their collecting journey, it's crucial to understand that a collection should be deeply personal. It should not be driven by trends or fashion but should serve as an expression of a unique moment in your life, a reflection of a cultural or social context. The process of collecting is inherently educational. You must immerse yourself in the world of art by visiting museums, attending art fairs, and exploring galleries. Through this exposure, you gradually develop an informed eye for art.
As highlighted in the book, collecting also involves cultivating relationships within the art community. Engaging with people and having conversations with artists, galleries, and specialists at auction houses is an invaluable aspect of the journey. One consistent piece of advice, echoed by many of the collectors featured in the book, is that you should not collect solely as an investment. Instead, collect what genuinely resonates with you and what you love.
Selena Mattei
