10 QUESTIONS WITH ANNIE PEREIRA, CURATOR & GALLERY MANAGER AT JD MALAT
August 2023
1.) Good morning Annie, welcome to The Mayfair Musings! Tell us a little about your day-to-day life at JD Malat...
Hi Victoria! Each day at the gallery is always very different from the last, and always non-stop. My schedule revolves around our fast-paced programme and the different time zones of our artists, clients and stakeholders, so I have to be very flexible with working hours and often jump between tasks, meetings and calls. Currently we are busy preparing for upcoming projects and exhibitions we have planned for Frieze Week this October. In a busy period like this, key duties include supervising the gallery space, engaging with visitors, as well as guiding and working with our incredible team to procure all exhibition collateral, design assets and logistics. Given the quick turnaround of our programme, day-to-day life at the gallery is effervescently mercurial.
2.) What led you to join the team at JD Malat?
I first met Jean-David Malat, founder of JD Malat Gallery at one of his exhibition openings for the brilliant painter Henrik Uldalen at the end of 2019. I was working for an events and communications agency spanning art and luxury industries at the time but given my History of Art degree, I was determined to gain hands-on experience within the contemporary art sector. Everything about the gallery stood out to me, from its welcoming atmosphere to the team’s commitment to championing emerging artists. It was really after speaking with JD about his eclectic programme and seeing his open-mindedness that I learned of our mutual appreciation for cross-cultural collaborations and the potential to inspire connections between artists and diverse communities. I immediately took up the opportunity apply for a position at the gallery.
3.) You have had a busy year in the gallery so far. What are some of your highlights of 2023?
We’ve had many exciting moments at the gallery so far this year, but to pin down a favourite of mine I’d say introducing the work of Emily Gillbanks to our collectors and public was a hugely creative and rewarding experience. We discovered Gillbanks’ work during her graduate show at the RCA and completely fell in love with her painting technique and area of research.
When we installed her first show ‘Temporary Sitters’ we explored how the space of the gallery could highlight the themes at play in her work. Working from images found within the public domain, Gillbanks depicted a series of sitters captivated by their smartphones across the London Underground to investigate what modern-day voyeurism means today. We pasted a backdrop of a tube platform across the walls, installed tube seats and added custom-made newspapers to the space. It was an inclusive and unforgettable way to connect with viewers and show how Gillbanks’ oil paintings provide a greater sense of permanence to the momentary. Gillbanks’ is currently taking part in Chargeurs Philanthropies Residency in Marseille, France. I can’t wait to see her new series of paintings!
4.) Tell us a little about your commitment to promoting underrepresented voices within the art world...
There is certainly a greater awareness of voices from underrepresented communities in the past two years; however, artists and aspiring curators are still working within a system that’s largely influenced by structures created by men and must often operate in a system that lacks gender parity. I am also very aware of how narrow the window of opportunity is for artists and workers without sufficient economic support or inner networks within the artworld, which is why I encourage an ethos of integrity and inclusion at the gallery. It’s also the reason why initiatives specifically geared towards supporting female and underrepresented artists are so important.
Women Artists Art Week World (WAAW) is an excellent organisation run by Annya Sand and Catherine Hunt who I had the pleasure of working with in 2022, and again in 2023. They encourage galleries around the world to solely exhibit female artists for at least one month every year. For their inaugural month I hosted an all-female group show, which brought new emerging artists to our Mayfair audience, many of which have had solo exhibitions since, such as Ming Ying, Ayanfe Olarinde and Sophie-Yen Bretez. Such initiatives have also secured the commitment to several exhibitions by female artists including Georgia Dymock, Emily Gillbanks and Celine Ali.
‘Temporary Sitters’ by Emily Gillbanks at JD Malat, 2023
5.) We're curious about the art curation process. Where does this begin and how much work is there to do before a new art exhibition?
I am still learning myself, and from my experience it differs depending on whether you’re focusing on contemporary artists, Post-War artists, solo or group exhibitions. When working with a contemporary artist it’s really a collaborative process which involves identifying their ambitions, preparing a space that reflects the themes in their work and maintaining a patient, flexible and diligent approach to achieving deadlines. The timeline for exhibitions like this can be anything from a conversation 6 months before the actual unveil of the show, to a last minute turnaround of stretching, framing, photographing works about a week before the opening as per an individual artist’s working methods.
It’s also important to have a strategic outlook at all exhibitions. Staging exhibitions around Post-War artists, such as ‘Ferus: A Visual Conversation’ which was held on the ground floor of the gallery alongside a group exhibition of our contemporary artists downstairs, is an effective way to bridge the gap between an older generation of collectors and new collectors for instance. ‘Ferus: A Visual Conversation’, brought together unseen artworks by established artists including Ed Moses (represented by JD Malat Gallery), John Altoon, Billy Al Bengston, Craig Kauffman, and Giorgio Morandi to examine the centrality of visual exchange during the 1950s and 1960s.
Ultimately this exhibition was borne from the question of how we could reignite the conversation around these artists and actively contribute to existing literature through our research and focus on artworks that were gifted and passed amongst the group of artists during the 50s as opposed to their more renowned artworks. It required a lot of forward planning and discussions with the artists’ representatives and estates several months in advance. I had the opportunity to work alongside Co-curator and Art Historian, Dr Richard Davey, to procure the artworks, manage logistics, insurance, consignment agreements and all exhibition collateral.
6.) When sourcing new artists, what do the team at JD Malat look for?
On a person-to-person level, we aim to work with artists who are serious about their practice with authentic character. We particularly enjoy working with artists who can envision what success means for them so we can work together to achieve mutual goals. We are also all about teamwork at the gallery, and that means a strong relationship with an artist based on trust and kindness is integral.
In terms of the art itself, we are very open to different mediums, techniques and formal/stylistic qualities. Overall, we look out for artwork which is confident, convincing, and has a compelling story or initiative behind it, something which hits us in the gut and demonstrates the potential to resonate with our audience.
Yann Leto solo exhibition 'Big City' at JD Malat, 2023
7.) What advice do you have for new artists looking to work with JD Malat in the future?
What I would say to an artist aspiring to work with us, or any gallery, is to develop a strong body of work that’s well-presented online; high-resolution images seem an obvious suggestion, but they’re hugely important if you want to give an accurate impression.
In terms of method of approach, it’s a really organic process for us, where first contact usually comes through personal introduction or recommendation. This is usually the most effective way for us to assess the alignment of the art with the gallery’s goals and understand the authentic nature of the artist. Instagram is another great way to reach out to us so we can view your art page directly.
8.) What have we got to look forward to at JD Malat during autumn and winter 2023?
We will host Kojo Marfo’s second London solo exhibition this October. Entitled ‘Crucible of Hope’, the exhibition will open during Frieze Week and display Marfo’s monumental acrylic paintings, and his first foray into mixed media work across both floors of our Mayfair space. Erin Holly’s debut solo exhibition will open in November, bringing together vibrant paintings of interior spaces to address the politics of space and inclusion, trans identity and the archetypical expectations of gender normative conventions. I’m also looking forward to showcasing Yann Leto’s new series of paintings at Untitled Art Fair during Art Basel Miami this December.
Erin Holly Studio Portrait, Credit Martina O’Shea
9.) What are some of your favourite spots in Mayfair?
The recently opened Art Space Café is a favourite of mine. As the name suggests you can get your fill of art with the exhibitions held downstairs, as well as coffee on the ground floor, plus it’s less than a minute walk away from the gallery, so it’s perfect when I go on my break! I also enjoy strolling through Grosvenor and Berkely Square, especially during the annual Art in Mayfair Sculpture Trail.
10.) When you're not busy working, where might you be found and what might you be doing?
I try to fit in as many exhibitions as possible. Regular visits to the National Gallery are a particular favourite of mine even if it’s just to see their general collecion. Otherwise, you can find me walking my dogs around Hampstead, spending days out with my family and catching up with friends at live music events around London. I also love to travel and learn about new cultures, so I go abroad as much as I possibly can.
JD Malat Gallery displaying Ayanfe Olarinde, 2023
