About

Dominique Fiat is a gallerist in Paris, now based in the 10th arrondissement after more than 25 years in le Marais, near the Musée Picasso. She develops a wide range of artistic projects across different media, that contribute to the promotion and careers of the artists she represents.

Her transdisciplinary vision has led to the discovery of emerging talents from the outset, such as Camille Henrot in 2005 and Hicham Berrada, whose work takes multiple forms of expression.

She was the first to exhibit in Paris, in 2006, Californian artists such as Dennis Hopper, Ed Moses, Ken Price and Ed Ruscha, as well as artists associated with the Light & Space movement: Peter Alexander, Laddie J. Dill, Fred Eversley and Helen Pashgian.

Beginning in 2009, she also turned her attention to the extra-Western art scene, particularly Africa and the MENASA region, through both group and solo exhibitions: Objects of a Revolution (2009), Glenda León (2010), Anita Dube (2011), The World Is Not As I See It (2012), and Safaa Erruas (2013). Anita Dube and Sue Williamson were exhibited at the gallery simultaneously with the Centre Pompidou. Anita Dube also served as the acclaimed curator of the Kochi-Muziris Biennale in 2018–19.

In 2017, Dominique Fiat initiated and organized “Afriques Capitales” at the Grande Halle de la Villette, a major exhibition of contemporary African art featuring around fifty artists -from William Kentridge to Leila Alaoui-accompanied by a festival of music, dance, and performance. From the partnership established with the Fondation Louis Vuitton emerged the “African Spring” in Paris.

Today, Dominique Fiat reaffirms her commitment to engaged artists and her interest in the cultural connections between Africa, Asia Minor, and the Mediterranean, as well as related themes. She emphasizes openness and dialogue in order to avoid any notion of confinement or ghettoization.

The Space

Nestled in the vibrant and cosmopolitan spirit of the Faubourg Saint-Denis, the gallery moves away from the neutral concept of the white cube to offer a refined and welcoming space. Flooded with natural light through a large glass roof, the space is set within a distinctive historical and architectural context rooted in the area’s industrial past.

The courtyard at 12 rue Martel reveals a former complex of late-19th-century workshops dedicated to the decorative arts, particularly ceramics, faience, and glass. It was once the headquarters of the Union Faïencière, a group of buildings distinguished by its original style, characterized by alternating ochre and red brick arranged in decorative friezes, as well as metal finials adorning the vertical bays.

In the building that belonged to the Cristalleries Lorraines, whose name is still visible above the entrance, a kiln was still in use as late as 2000. Today, the gallery presents a luminous contemporary space that lies somewhere between an exhibition venue and a domestic setting.