It is considerable note JeanPaul Claverie

"Becoming a mentor is very impressive." I am very honoured and at the same time concerned because there is no recipe in literature. It's a lonely job. I don't know, that will allow that, in his imagination. "Despite its misgivings, the writer Tahar Ben Jelloun has agreed to participate in the third edition of the programme of artistic patronage of Rolex"Mentor and protected Arts Initiative"that starts in June. No doubt he was reassured by the experience of his friend Mario Vargas Llosa, Peruvian, novelist "mentor", and that, while it is true that "creativity cannot be learned, however, can help a young to discover what writer he wants to be." Both participated in the gala organized by Rolex in December dinner last at the Lincoln Center in New York. In the five hundred invited, an impressive gathering of celebrities, all disciplines combined, was held for most of them in their quality of ex or future "mentor". Writer Toni Morrison, soprano Jessie Norman, painter David Hockney, the choreographer Ana Teresa de Keersmaeker, filmmaker Mira Nair...

Motivated by "pursuit of excellence" all confused, Rolex would not be limited to a single artistic domain. The Swiss watchmaker and seeks the biggest names in each discipline to play one year (and for the payment of $ 50,000) the role of mentor to talent. They are handpicked by six expert committees probing their networks of contacts in the four corners of the world to identify potential candidates and stop their choice. The idea of this original approach has germinated in the minds of the pattern of Rolex, Patrick Heiniger, in 2002. By attracting to the gotha of culture, there are give the brand further notoriety through this new role as patron of the arts. The luxury invests art has always been. Just search in the past, the French luxury houses to be convinced. Louis Vuitton attended photographer Nadar and the Impressionists. mile Hermès collected beautiful objects of travel. As Louise Pommery, it made silenced rumours that ran on its financial position by acquiring in the auction, in 1888, for 300,000 francs gold, table Millet Gleaners and... by donating to the State! Their successors perpetuated the heritage. With Menehould de Bazelaire, head of the heritage in Hermes, the prestigious House continually enriches the mile-Hermes Fund. Sixteen thousand treasures are an "invaluable reservoir of imagination" for the artisans and "creative" of the group. The Lady is also fully committed in contemporary creation. In 2000, Jean-Louis Dumas decided to transform into art gallery the 200 m2 under canopy serving parking at the rear of avenue shop Waterloo, in Brussels. Daniel Buren, Roman Opalka, Philippe Ramet and other successive in what became "The canopy" to present a new work. This principle of contiguous to the shop art gallery has been reissued, with variants, in New York, Tokyo and Seoul.

The art shop: a gift to customers

The Vuitton malletier spoke, he "Supplement of soul" when he installs the works of artists recognized as James Turrell and Olafur Eliasson, in his new "temple" of the Champs-lysées. The idea should be repeated in Taipei with an intervention by the artist Michael Lin, and then in New York. This presence of boutique art is presented as a "gift" to clients, along with exhibitions of the seventh and last floor of the building, in the 400 pristine m2 reserved for this intention. "In counterpoint to the Asnières museum devoted to historic and family brand part missing us a cultural and artistic place to express its values present and future", said Marie-Sabine Leclercq, Director of communications. In the strange biomorphique of Vanessa Beecroft alphabet applied to logo LV successor in may, an exhibition on the India and its artists. The Gallery has a double entry, by Bassano street or shop for who wants to experience the absolute black in the famous elevator of Eliasson. Claustrophobic refrain!

Also valid warning for those who would like to visit caves of domaine Pommery is eighteen kilometers of tunnels dug in 116 metres deep in les crayères Reims. It is in this picturesque framework that the couple Vranken, owner places, invites every summer since 2003, a host of artists exhibitions theme, in the circuit of the field visit. "The place is so extraordinary that it gum any hesitation among artists", welcomes Nathalie Vranken. No one is surprised that contemporary art passionate about both people of luxury. "There is a natural between contemporary art and luxury affinity, because we speak the same language, that of the creative process", analysis Elizabeth Ponsolle of doors, the Colbert Committee. The collective of luxury businesses himself chose to present the winners of its "The hopes of creation" at the next international fair of contemporary art (Fiac). This was to demonstrate that the "creation is at the heart of the dynamics of luxury," she added. The same phenomenon in Italy where Prada and Trussardi foundations appear very active on the topic via very (too) sharp programming as episode infamous three models of wax in face of children hanged from a tree in Milan. Very conceptual Maurizio Cattelan commissioned by Trussardi, this disturbing facility was withdrawn under pressure from outraged residents.

Play the patrons sometimes leads to problems of competition. Nicolas Feuillatte champagne in

have recently experienced. This collective of wine producers, which heals his image of protector of contemporary art, since 1999 was delight its place at the Fiac by its competitor Perrier-Joüet. He now has the same claims, after to be long invested in the constitution of an astonishing collection of Art nouveau masterpieces preserved in pernay and visible for a few happy few. Feuillatte therefore transferred its VIP square and the price of the creator of the year at the exhibition "artparis" which he became the official partner.

Companies growing initiatives

If companies are interested in the art for a long time, FARC initiatives in patronage since the August 1, 2003, Aillagon law. Evidenced by releases figures on 13 March last by the Association for the development of industrial and commercial sponsorship (Admical): EUR 1 billion was spent on the corporate patronage in 2005, knowing that 52 of the projects concern the cultural field.

Remains to be distinguished from the lot. L ' Oréal, for example, consistent with its status as world leader in cosmetics, stands for the restoration of the woodwork of the old Hall bathroom for Louis XV at Versailles. In Italy, Ermenegildo Zegna cultivates its difference style Hermès. Since 1997, it distributes scholarships to young performers of the legendary St. Petersburg Mariinsky Theatre led by maestro Valery Gergiev. The family business is also committed to continue the work of the founder. In 1937, this Green before time began in his native Piedmont construction of a magnificent road that bears his name: the "strada Panoramica Zegna. As recounts his descendant, Anna, "the idea was to bring social and environmental development with economic development." This is what is known today of the citizen action. "The company has a prominent place in society." "It must demonstrate that it attaches to great causes that affect the society in which we live," says Jean-Paul Claverie, in charge of the cultural and institutional communication to the President of LVMH. Bernard Arnault has always said that the economic success of the Group should thus benefit the largest number, via an educational, humanitarian, and course, cultural patronage. LVMH thus submitted twenty-six major exhibitions in 15 years. None, in fact, could now to climb without the number a world of luxury. "It is considerable, note Jean-Paul Claverie.". The choices are simple logic: support the creation and relive or discover moments key and major artists in the history of art. "In 2006, LVMH is partner of the retrospective Pierre Bonnard, organized by the Museum of Modern Art of the city of Paris and Yves Klein which will take place at the Centre Georges-Pompidou.

An excellent communication tool

That there be no mistake not, the company is not to undermine philanthropy and sponsorship is rarely selfless. It is an excellent tool for internal and external communication which they use to have value. Brands of alcohol, strongly with disabilities by the loi vin (1991), well understood. Failure to be included in the Paris-Dakar, Pernod Ricard has become partner of the Pompidou Centre since 1997. "When the water terraces on the floor of the Museum, we have felt concerned because water is our business", says Patrick Ricard. Surprising argument on the part of the number 2 world of wines and spirits! However, can acknowledge his taste for transparency since it is one of only bosses to give figures on its shares in sponsorship. More than 760 000 euros was allocated to the water from the terraces of Beaubourg implementation and 3.2 million has been paid to the State to acquire the head sculpture in depth of Julio Gonzales. The Group also spent EUR 1 million for the creation of a pool for the terraces of the new Musée du Quai Branly.

In comparison, in LVMH, is total silence or almost. "Let the hand to dreams." "Do not limit sponsorship to numbers, it is the lesser tribute that it draws him make", defending Jean-Paul Claverie. Alain-Dominique Perrin does not such convolutions embarrassment. He said about the Cartier Foundation for contemporary art it created in 1984 - on the advice of the sculptor César - while he headed the jewellery group. "The budget is about 3 to 4 million euros for a four-year programming, alternating revelation and sacred monsters." Today, Perrin enjoys its success: "the look on Cartier is positive and respectful, that is exactly what I wanted. Alain-Dominique Perrin has succeeded in keeping its autonomy to Cartier Foundation avoiding mix genres. Never it has used art as a tool marketing, like Vuitton which has, for example, asked the Japanese artist Murakami redrawing his monogram. Perrin fled as the plague this kind of mercantilo-artistic collusion. The Foundation, become a player view and commitment of the international art scene, has also the recognition of the public. Some 115 000 visitors (a record!) came to admire the strange characters in the Australian sculptor Ron Mueck, presented for the first time in France.

The Fondation Cartier is an unmatched model of corporate philanthropy. Alain-Dominique Perrin based much hope, like many on the project of François Pinault on Seguin Island. In vain. Weary of the administrative delays, he chose to export to Palazzo Grassi, Venice, its priceless collection of art modern and contemporary, one of the largest in the world. A great missed opportunity.

The Aillagon Act allows a tax deduction equal to 60 of the amount invested for businesses, and can reach up to 90 of the amount invested for a transaction concerning national treasures.