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Property of Manja Gidéon

Come and discover

« “I do not see myself as a collector. That term does not describe me, because my collection does not follow a specific theme or guiding thread. The works I buy are like stones with which I build my own universe. They express an opinion, a reflection, and awaken sensations within me.” »

Manja Gidéon

Matthew Barney (1967)

Sold for: CHF 8,000

Manja Gidéon

Before being a collector, Manja Gidéon was a humanist.

Since settling in Geneva in the 1980s, she had continuously supported various foundations and associations, both morally and financially, with the aim of promoting charitable causes and the arts. Examples include the Bureau d’Adoption de Genève, MAMCO and the Geneva Camerata. Philanthropy was always at the heart of her concerns, as reflected in her final gesture: the creation of the Manja Gideon Foundation, dedicated to improving prevention and research into ovarian cancer.

Manja Gidéon spent over 20 years building her artistic universe in Geneva. She tirelessly explored international fairs such as Art Basel, as well as renowned Swiss and international galleries, including Galeries Guy Bärtschi, Perrotin, Carlier Gebauer, Blancpain, Moser and Simon Studer, among others.

Marina Abramovic - Stromboli No.III (Volcano)

Sold for: CHF 6,000

This passion led her to bring together exceptional works of art and build an “ultra-contemporary” collection. Major names in contemporary art, including Stephan Balkenhol, Marina Abramovi?, Christian Boltanski and Joana Vasconcelos, are displayed and brought into dialogue.

Nothing less than an exceptional villa was needed to house such a collection. From 2011 to 2012, Manja Gidéon decided to completely transform her villa and called upon the OVA architectural practice.

The result is a residence that reflects its owner’s vision of aesthetics. The “rooms unfold like pearls, one after another,” each holding its own share of surprises. The house thus becomes both an intimate setting and a work of art in itself, revealed to the visitor’s eye.

Although Manja Gidéon did not consider her collection as a coherent whole, as external observers we can recognise a guiding force in the formation of her artistic ensemble. The majority of the works assert the breaking down of intellectual, moral and cultural constraints that shape perceptions of the body, sexuality and femininity. They prompt a profound questioning of our society and, consequently, of ourselves.