Opera Gallery, a renowned name in the global art scene, is celebrating its 30th anniversary this year. Established in Singapore, the gallery has been instrumental in shaping the local art landscape and has grown to include 16 locations worldwide. Under the leadership of Founder and Chairman Gilles Dyan and CEO Isabelle de La Bruyère, Opera Gallery has become a key player in modern and contemporary art.
To mark this milestone, the gallery is launching a series of events, including a special exhibition in Singapore, where its journey began. This moment presents an opportunity to explore the gallery's evolution and its role in the changing world of art. An interview with Gilles Dyan and Isabelle de La Bruyère would offer valuable insights into the gallery's past, present, and future as they reflect on 30 years of curatorial achievements and look ahead to what’s next for Opera Gallery.
Gilles Dyan and Isabelle de La Bruyère in 2023.
©Erik Lasalle/Studio SLB
Interview with Gilles Dyan, Founder and Chairman of Opera Gallery Group
As the Founder and Chairman of Opera Gallery, how have you seen the gallery evolve since its inception in 1994?
The gallery has changed in many ways, adapting to shifting tastes as well as substantial transformations in the art world and the world at large. Over these past 30 years, the art world—and Opera Gallery by extension—has adapted to increased globalization, propelled by the advent of the internet and social media, among other things. These advancements have democratized art, enabling our artists to present their work to a global audience and making art more accessible and diverse. Opera Gallery’s identity has also evolved and become more inclusive with every new location we’ve inaugurated around the world.
My belief in art and artists has also evolved and deepened in these past 30 years. When I started Opera Gallery in 1994, my passion for art was driven by a deep appreciation for its capacity to tell stories and convey powerful messages. Over the years, my understanding of art's role in society has evolved significantly. Initially, I viewed art through the lens of individual expression and creativity. However, I soon recognized art's profound ability to influence society, inspire change, and foster empathy. Art can address pressing social issues, challenge entrenched beliefs, and evoke strong emotional responses, making it an essential tool for cultural dialogue and reflection. I’ve also seen how art can bring communities together, creating a shared sense of identity and purpose. Over time, we’ve embraced a broader, more inclusive approach to the art world, reflecting the diversity and dynamism of the global art scene.
What inspired you to establish Opera Gallery in Singapore as its founding location, and how has this shaped the gallery's global presence?
When I first considered Singapore as a potential location to set up shop, several factors made it stand out as an exceptionally viable option.
The first time I traveled there, I was attracted to its dynamic energy and cultural diversity. In 1994, Singapore's art scene was in its early stages, characterized by a pioneering spirit among local artists and art enthusiasts. The country was ambitiously transforming into a global arts hub despite several challenges, including limited art infrastructure, a small collector base, and an audience that was not yet deeply engaged with contemporary art. The Singapore Art Museum, now a key institution in the city's art landscape, was still a year from opening, but its anticipated launch symbolized a broader momentum in the art scene. During this period, artists and galleries were laying the groundwork for what would become a vibrant and internationally recognized art market, and their efforts laid the groundwork for shaping the future of the city's art landscape. Each exhibition and event thereafter helped contribute to the growing recognition of Singapore as an emerging player on the global art stage, and I feel honored to be a part of the city’s cultural landscape with Opera Gallery.
The exterior of Opera Gallery Singapore
Courtesy Opera Gallery
‘Yayoi Kusama, Niki de Saint Phalle : A New World’ at Opera Gallery Singapore, 06
January - 05 February 2023. Courtesy Opera Gallery
Can you share some of the most significant collaborations with cultural institutions and artists’ estates that have marked Opera Gallery’s journey?
At Opera Gallery, we’re committed to delivering museum-quality exhibitions in partnership with the artist estates we represent that impart cultural context and historical significance. Recently, we’ve presented two blockbuster solo exhibitions dedicated to Spanish artists Antonio Saura(in partnership with Succession Antonio Saura/FondationArchives Antonio Saura) and Juan Genovés (in partnership with the Juan Genovés Estate). During the Antonio Sauraexhibition titled ‘Painting at Will’ in London earlier this year, we hosted an exhibition tour with Wallace Collection Director Dr. Xavier Bray, which was an educational program dedicated to the Spanish artists who influenced Saura’s practice. We are always trying to find new and interesting ways to tell the stories of the artists and artist estates we work with that demonstrate the importance of their legacy within the context of art history.
Reflecting on 30 years of Opera Gallery, what have been some of the key lessons learned, and how have they influenced your vision for the gallery’s future?
Throughout this 30-year journey in the art world, I have learned countless lessons, but I’ve also had certain beliefs consistently reaffirmed. One example of this is the belief that art should be for everyone. This philosophy has been the cornerstone of my work and has driven many of my initiatives. I firmly believe that art possesses the unique ability to transcend social and cultural boundaries, connecting people on a profound level.
Interacting with artists over the years has taught me so much, with the biggest lesson being humility. Watching artists work their magic and seeing how their art stirs up all kinds of emotions in people and touches so many lives has really humbled me. It's also made me realize that true greatness comes with staying grounded and always striving to improve, no matter how talented you are.
Could you give us a sneak peek into the exciting activities and the thought-provoking exhibition planned for Opera Gallery’s 30th anniversary celebration in September?
To commemorate our 30th anniversary, we are hosting a unique exhibition in Singapore, where our journey began three decades ago. This exhibition, titled "The Collector 1994," will meticulously recreate the interior of an art collector's home from 1994. Visitors will explore various living spaces such as an entrance hall, living room, dining room, bedroom, and library, each designed to reflect a collector's environment thirty years ago. The exhibition aims to delve into the personal and singular relationship that an art collector has with his collection, showcasing art in a setting removed from the traditional museum context. It will highlight the intimacy of a collector's world, surrounded by personal objects, furniture, and traces of life from an imagined 1994. Paintings, drawings, photographs, sculptures, and trinkets will be displayed in a cozy, immersive scenography. This setting will bring together masterpieces by renowned artists like Renoir, Picasso, Magritte, Chagall, Calder, Buffet, Botero, Haring, Soulages, and more.
Interview with Isabelle de La Bruyère, CEO of Opera Gallery Group
Since joining Opera Gallery as CEO in 2023, what have been your primary goals and initiatives for the gallery?
Opera Gallery is celebrating its 30-year anniversary this year and has successfully grown into a multinational art business with locations on three continents since opening its first venue in Singapore. I was very proud to join Opera, and I only wish to build on its success. As such, I have been focusing on organizing more curated shows internationally, collaborating with leading curators to deliver museum-quality exhibitions that impart cultural context and historical significance.
In addition to this, we have been working more within the primary market, showcasing more shows by living artists, such as Ron Arad, Shepard Fairey, or Etsu Egami, and representing more contemporary artists than ever before, recently adding the likes of Anselm Reyle, and Brazilian artist Gustavo Nazareno to our artist roster. It is our core mission to champion Opera Gallery’s artists and the artist estates we represent. It is our primary focus to tell their stories and encourage a dialogue between the audience and the artworks, while supporting their vision.
How has your extensive experience at Christie’s influenced your approach to leading Opera Gallery?
When I first moved to the Middle East for Christie’s, I realized how intimidating the art world was for clients who didn’t know it well. Gilles Dyan, who founded Opera Gallery in Singapore in 1994, understood this a long time ago and has built a business that is welcoming and accessible to art enthusiasts and collectors, with artworks of all price points. He’s always had a very personal, hands-on approach, and he has built a very loyal clientele who appreciate this approach, as do I. We both have a very client-centric approach to the business and are complementary with different fields of expertise. I think that my various roles and experiences at Christie’s have enriched me with a variety of skills that I can now put to work, while allowing me the opportunity to continue to grow and adapt to a very different side of the art business.
Opera Gallery London exterior. Eva Herzog photography
Exhibition view of Opera Gallery London’s November 2023 show ‘Untitled Rencontres’
Eva Herzog Photography
Can you discuss your focus on curator-led programming and how it has impacted the gallery’s exhibitions and artist collaborations?
I think it is very important to work with curators, critics, and historians who can bring a different perspective and audience. One recent example of this was our recent exhibition in London entitled ‘The Whole World Smiles With You,’ which was curated by Alayo Akinkugbe, writer, curator, and founder of the Instagram account @Ablackhistoryofart, and host of the “A Shared Gaze” podcast, which facilitates conversations with Black contemporary artists from across the globe. The exhibition featured works by well-known artists such as Amoako Boafo, Chris Ofili, and Deborah Roberts, alongside emerging artists such as Jazz Grant, Thelonious Stokes, and Noel Anderson. Through her vision, the exhibition interrogated various modes of figuration by contemporary Black artists and challenged the Western canon by overtly reconfiguring renowned paintings and portraying figures in poses reminiscent of pre-twentieth-century European portraiture. This exhibition was an opportunity for us to engage with a contemporary dialogue in a more academic way and facilitate a dialogue between an incredible group of artists working in a range of mediums. In partnership with London Gallery Weekend, we hosted the recording of Alayo’s ‘A Shared Gaze’ podcast, which you can watch HERE.
How do you envision the future of art galleries, especially in the context of digital transformation and global connectivity?
Globalization of the art market has dramatically changed the way we work today, primarily allowing for more accessibility, which has led to a more inclusive art world. There are more galleries, auctions, fairs, and private museums than ever before, which has helped foster new buyers and art enthusiasts. We go where clients are nowadays, and Opera Gallery was one of the first art galleries to open up in Hong Kong, Dubai, Monaco, and Aspen, as our founder understood the importance of being close to clients early on. Digitally, we feel it’s very important to stay on the cutting edge and embrace all the tools available to us in order to constantly improve the storytelling around our artists. This means a greater dedication for us to develop content for social media in creative new ways, invest more heavily in video, and always give our artists a strong platform for their narrative.
Could you share more details about the vision for Opera Gallery’s path forward, especially in terms of expanding its global reach and influence?
I have been following Opera Gallery and its expansion for the last twenty years and have always admired Gilles Dyan’s vision for the group. Since the first gallery in Singapore in 1994, Gilles has built an incredible foundation, on which we will build upon the core values that define the brand and continue to adapt, innovate, and put both our clients and our artists first. With this in mind, we’re committed to expanding our growing roster of primary market artists and delivering interesting and diverse exhibitions at each of our locations globally, as well as continuing to invest in our growing client base by providing them with the best service and advice.
More information:
Comments