Ten Years In, A Cult Art Fair In Paris Hits Its Stride

A decade on from its quietly radical beginnings, Paris Internationale has firmly established itself as one of the capital’s most compelling cultural fixtures—an art fair that has redefined how emerging and experimental galleries engage with collectors, curators and a global audience. Under the direction of Silvia Ammon, the fair has grown from a daring initiative launched in 2015 by three independent galleries into a cornerstone of Paris Art Week, celebrated for its human scale, sharp curatorial vision and unwavering independence. Conceived as a counterpoint to the glossy machinery of mega-fairs, Paris Internationale set out to privilege artists over spectacle, risk over routine and genuine encounters over corporate polish. That founding ethos has endured even as the fair has evolved through a restless sequence of venues, from raw industrial spaces to the grandeur of central Paris, each location reshaping the experience anew.

The 2025 edition marked a symbolic milestone—affirming the fair’s place on the international stage at a time when the global art market is growing more cautious. Yet rather than diluting its ambitions, Paris Internationale has doubled down on its non-profit model, its commitment to free public access and its support of artist-run and non-commercial spaces. With hundreds of applications now competing for a tightly edited selection, the fair continues to prove that intimacy and ambition are not opposing forces, but mutually sustaining ones. In this conversation, Ammon reflects on the fair’s origins, its nomadic identity, the significance of its recent landmark edition and the delicate balance between independence, sustainability and experimentation that continues to define one of Paris’ most distinctive art gatherings.

Why did the galleries Ciaccia Levi, Crèvecoeur and Gregor Staiger decide to establish Paris Internationale in 2015? Why was the timing right a decade ago to establish the fair, showcasing emerging and smaller galleries? What was Paris lacking back in 2015, how was Paris Internationale an alternative and how has the fair evolved over the past 10 years?

Paris Internationale was born out of a collective impulse shared by a generation of gallerists who wanted to redefine what an art fair could be. Back in 2015, Paris was regaining momentum on the international art scene, but there was still a lack of visibility for the younger, more experimental galleries— the ones taking real curatorial risks. The founding galleries—Ciaccia Levi, Crèvecœur and Gregor Staiger—wanted to create a fair that felt human, independent and artist-centered rather than formatted and corporate. They envisioned a platform where encounters, ideas and experimentation were as important as sales. Ten years later, Paris Internationale has become a cornerstone of Paris Art Week, known for its sharp selection and its convivial, inclusive atmosphere. It has helped re-establish Paris as a vital, forward-looking art capital, while staying true to its original ethos: independence, generosity and experimentation.

What were the highlights of this year’s edition of Paris Internationale?

The 2025 edition marked our 11th year and opened a new chapter for Paris Internationale. From 22 to 26 October 2025, the fair returned to the Champs-Élysées, just steps away from where it all began in 2015—a symbolic homecoming that bridges our history and our future. Set in a city in full cultural effervescence, this edition also celebrated 10 years of a fully realized utopia: the gathering of a global, committed and collaborative contemporary art scene. To mark this milestone, we launched ♡PI10, a celebratory parcours honoring a decade of collective experimentation and shared vision. Activating unexpected spaces throughout the venue, ♡PI10 featured large-scale interventions by artists from past editions and collaborations with PI alumni, accompanied by a special publication revisiting the conversations and discoveries that have shaped Paris Internationale since its inception. This year’s edition gathered 59 galleries and 7 non-profit spaces from 19 countries, reflecting a vibrant mix of established and emerging structures. The fair remained multigenerational and inclusive—from experimental non-profits to leading contemporary galleries—with a strong emphasis on solo and duo presentations that allowed visitors to engage deeply with the artists’ work.

Beyond the exhibitions, Paris Internationale is a place of dialog and reflection. Through the Daily Dérives, inspired by Situationist wanderings, visitors were invited to experience the fair through the personal perspectives of artists, curators or collectors, offering plural, subjective readings of art guided by curiosity rather than convention. The Talks Program, curated by Alice Dusapin, continued this spirit of openness and experimentation. As she put it: “The idea behind this program is to share—through a series of conversations—the complexity and experience of individuals who have founded, run or invested in non-institutional spaces. What does it mean to try to do things differently? What does institutional mean? What are the limits and joys of these various methodologies, and how can they speak to one another?”

Finally, our Non-Profit Sector remained at the heart of the project. Each year, we welcome independent and artist-run spaces free of charge—an essential gesture that acknowledges their role as laboratories of ideas within the contemporary art ecosystem. Supporting them means reaffirming our belief that art production thrives through generosity, collaboration and experimentation, not just through market mechanisms.

Explain to me Paris Internationale’s nomadic nature. Why did you decide to relocate to the Rond-Point des Champs Elysées this year after the raw industrial feel of the Central Téléphonique Bergère and other venues over the years?

Nomadism is part of our DNA. Since 2015, we’ve occupied nine different sites across Paris—from Haussmannian mansions to an abandoned telephone exchange—each chosen for its soul and its ability to inspire artists. This constant movement keeps the energy of the fair alive and connected to the city. Each new space invites us to rethink the format and to celebrate Paris itself—its architecture, its history, its capacity for reinvention. The search for a venue is almost an act of composition: we look for buildings that feel authentically Parisian, with character and depth, places that can become both a stage and a meeting ground.

Our move to the Rond-Point des Champs-Élysées continued this dialog. The building’s classical presence and generous scale allow us to design the fair as a shared landscape—a place of circulation, exchange and conviviality. Working with the architects Christ & Gantenbein, we approached the site like a “micro-city”, where each gallery has its own space while remaining part of a fluid, collective environment. It’s a way of reaffirming what Paris Internationale stands for: independence, community and a genuine celebration of Paris.

What were the biggest challenges of organizing Paris Internationale in 2025, at a time when the global art market is slowing down?

It’s true that the art market is facing a more cautious period, but we see this as an opportunity rather than an obstacle. Paris Internationale was founded on the idea of sustainability and solidarity—offering galleries fair conditions and encouraging collaboration rather than competition. Our non-profit model allows us to remain independent from commercial pressures and to keep participation fees accessible. This helps galleries focus their resources on artistic production and curatorial ambition. In a slowing market, what matters most is trust, quality and community. We’ve cultivated a loyal network of galleries, curators and collectors who value our integrity and the quality of the dialog that happens here. In that sense, Paris Internationale is perhaps better positioned than larger, more corporate fairs to navigate a moment of transition.

How many art galleries in total applied to participate in this year’s fair, and how does it compare with previous years? Is 66 galleries the optimal size?

This year, we received over 300 applications—a record number that reflects the fair’s continued relevance and desirability. Out of these, 59 galleries and seven non-profit spaces were selected to participate. We intentionally decided to reduce the number of exhibitors by about 10 compared to last year. We believe that this scale—around 50 to 60 participants—is ideal. It preserves our human dimension, ensures that each project has room to breathe and allows visitors to experience the fair in a more fluid and reflective way. This balance between intimacy and ambition is what defines Paris Internationale. And even though the generous surface of the building could have allowed us to invite more galleries, we chose to experiment with space instead and launch ♡PI10. Our commitment to quality and our desire to innovate led us to give even more space to artists through ambitious, large-scale projects that brought rhythm and depth to this very special 11th edition.

How have you maintained your independence and a non-profit business model while continuing your commitment to non-profit entities? How and why do you keep participation costs reasonable and admission to the fair and public programs free of charge?

From the very beginning, Paris Internationale has operated as a non-profit association. Every euro earned is reinvested into the next edition. Our independence is both a challenge and a strength—it allows us to stay true to our mission, to take risks and to keep our focus on the artists and galleries. Accessibility is at the heart of what we do. Admission is free for everyone, and our public programs are open to all. We want the fair to remain a space of discovery and dialog, not a closed circle reserved for insiders. Keeping participation costs reasonable is a deliberate choice—it allows galleries of all sizes to take part on an equal footing and encourages experimentation, enabling them to present ambitious projects that might not find their place elsewhere. Paris Internationale was born out of passion and necessity—a project imagined by galleries for galleries, sustained by a community that believes in sharing, experimentation and generosity.