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Les collections asiatiques de la Bibliothèque nationale de France se déploient dans deux espaces distincts du site Richelieu.
On September 25, the General Assembly of Printemps Asiatique Paris marked a decisive milestone: the close of a founding presidency, the election of a renewed Board of Directors, and the opening of a new chapter…
For four years, Christophe Hioco breathed new life and ambition into the event: establishing the Pagoda as its emblem, attracting international and prestigious dealers, reconnecting with collectors from all over the world, and strengthening ties with museums. A legacy acknowledged and celebrated as a major step in the international reach of Asian art in Paris.
Elected unanimously, Camille de Foresta, auctioneer specializing in Asian Art and Vice Chairwoman of Christie’s France, becomes President of Printemps Asiatique Paris. In her address, she paid tribute to her predecessor while outlining a collegial and open vision, guided by three priorities: excellence, international outreach, and cultural influence.
With its 9th edition ahead, Printemps Asiatique Paris moves forward with renewed ambition: to make Paris an unmissable destination for Asian art, combining excellence with passion.
After four years marked by an ambitious and successful revival, Christophe Hioco has chosen to pass the torch.
A passionate collector since his youth, shaped by his years in Tokyo and Singapore with JP Morgan, and later an antiques dealer between London and Paris, he has always placed rigor and passion at the heart of his path. In 2003, after thirty years in finance, he devoted himself fully to Asian art with the conviction of a collector turned dealer.
When he assumed the presidency of Printemps Asiatique Paris, it was a bold gamble: to relaunch an event with very limited means, yet with the conviction that Paris had to reclaim its rightful place. He summed it up :
💬 “My ambition was never the title, but the action. To relaunch Printemps Asiatique, to give it new breath, and to prepare a team capable of carrying the adventure forward.”
This vision took shape at the Pagoda, a mythical landmark of the 8th arrondissement.
Born in the Plaine Monceau district, he had often gazed as a child at this singular and enigmatic architecture, never imagining it would one day become the setting for his ambitious project.
Through his bold initiative and the decisive commitment of its owner, Jacqueline Von Hammerstein-Loxten, the Pagoda has been restored to its essence: the original vision of C. T. Loo, as a place devoted to the exhibition of Asian art.
Defending as well the essential role of Parisian galleries, he underscored that they are the beating heart of the event. Through their passionate commitment, they bring Asian art to life in the capital and demonstrate that Printemps Asiatique Paris draws its strength as much from its Parisian roots as from its international outlook.
Under his leadership, Printemps Asiatique Paris established itself as a unique meeting place, bringing together museums, collectors, dealers, auction houses and the public, with the ambition of offering a cultural program devoted to knowledge, exchange, and discovery.
A gamble embraced with brilliance, marking a true turning point in the history of the event and in the international reach of Asian art in Paris.
After four years marked by an ambitious and successful revival, Christophe Hioco has chosen to pass the torch.
A passionate collector since his youth, shaped by his years in Tokyo and Singapore with JP Morgan, and later an antiques dealer between London and Paris, he has always placed rigor and passion at the heart of his path. In 2003, after thirty years in finance, he devoted himself fully to Asian art with the conviction of a collector turned dealer.
When he assumed the presidency of Printemps Asiatique Paris, it was a bold gamble: to relaunch an event with very limited means, yet with the conviction that Paris had to reclaim its rightful place. He summed it up :
💬 “My ambition was never the title, but the action. To relaunch Printemps Asiatique, to give it new breath, and to prepare a team capable of carrying the adventure forward.”
This vision took shape at the Pagoda, a mythical landmark of the 8th arrondissement.
Born in the Plaine Monceau district, he had often gazed as a child at this singular and enigmatic architecture, never imagining it would one day become the setting for his ambitious project.
Through his bold initiative and the decisive commitment of its owner, Jacqueline Von Hammerstein-Loxten, the Pagoda has been restored to its essence: the original vision of C. T. Loo, as a place devoted to the exhibition of Asian art.
Defending as well the essential role of Parisian galleries, he underscored that they are the beating heart of the event. Through their passionate commitment, they bring Asian art to life in the capital and demonstrate that Printemps Asiatique Paris draws its strength as much from its Parisian roots as from its international outlook.
Under his leadership, Printemps Asiatique Paris established itself as a unique meeting place, bringing together museums, collectors, dealers, auction houses and the public, with the ambition of offering a cultural program devoted to knowledge, exchange, and discovery.
A gamble embraced with brilliance, marking a true turning point in the history of the event and in the international reach of Asian art in Paris.