사립 컬렉션의 전시 전략과 제도적 영향: 프랑소아 피노 컬렉션의 반복 전시 구조와 게이트키퍼 권력을 중심으로

This study examines the François Pinault Collection as a case to analyze how private collectors exercise institutional intervention through exhibition practices in the contemporary art market, conceptualized here as a form of “gatekeeping power.” Rather than focusing solely on ownership or financial patronage, the study investigates how structured repetition, spatial circulation, and the integration of programs such as residencies and academic support shape artists’ visibility and career trajectories. Based on qualitative single-case analysis of exhibition data from 2006 to 2025, the research identifies patterns of artist recurrence and cross-spatial circulation across Venice and Paris. Instead of assuming a direct causal relationship between exhibitions and market performance, repetition is interpreted as an institutional mechanism that stabilizes visibility and continuity over time. A limited group of artists repeatedly occupies central positions within the exhibition structure, contributing to the accumulation of institutional centrality. Furthermore, the rapid translation of exhibitions into publications and archives, together with programs such as the Lens Artist Residency and the Pierre Daix Prize, demonstrates how display practices intersect with discursive and research frameworks. By conceptualizing repetition as a structural allocation of visibility, this study offers an art management perspective on how private collections function as institutional actors shaping the conditions under which artistic legitimacy is consolidated.