Reflecting upon the necessary conditions for the development of the New Patrons
Protocol, the French conceptual artist calls for a better involvement of museums as well as for an art history that would relate creative processes with political conditions.
So, after countless ups and downs, I finally succeeded in proposing to reshape the relationships between our society, its artists and their work!
Twenty-five years later, it appears that this rather utopic proposition has given birth to hundreds of artworks in a movement that is becoming increasingly widespread.
When I wonder why and how this artwork I conceived and called The New Patrons Protocol has had such an impact, I believe it was undoubtedly the ineluctable consequence of a long, unprecedented history of cultural shifts, both contemporary and yet to come.
A visual conceptual artist, François Hers used for a long time photography to carry out his research before focusing on public action. From 1983 to 1988, he conceived and directed the photographic mission of the DATAR. Director of the Hartung-Bergman Foundation
from its creation in 1994 until 2014, responsible for culture at the Fondation de France since 1989, he is the founder of the New Patrons