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Ann Hindry is a historian and art critic. Chief editor of the magazine Artstudio until 1992, she has published many essays on modern and contemporary art. Today, in her capacity as curator of the Renault Collection, she talks about this unique heritage.

How would you describe the Renault Collection, more than 20 years after the last work was acquired? 

It’s a unique collection that is truly original, since it developed at the same pace as the company. Today, it still stands as an example of committed corporate sponsorship.

Which works or artists would you say best symbolize the relation between Renault and contemporary art? 

They are all important,  but Arman and his Accumulations Renault , Dubuffet and his Roman Burlesque series of 18 pictures, or Erró with his Renault Scapes could be said to symbolize this historic cooperation.

Today, what does Renault get out of an experience dating back 20 years? 

Renault is constantly forging ahead and it is not afraid of venturing onto new ground. It showed this by opening its doors to contemporary art, to an extent never before seen in France. Today, as part of the same approach, it is opening its doors to the world.

How do you see the future of the Renault Collection? 

The Collection is part of the company’s rich heritage. It contributes to Renault’s history and, in this respect, it has an exemplary, unifying role. The Collection continues to contribute to the company’s image and renown in France and around the world.