dialogue
Athina Sanvido and Juliette Miller (Refusés) | Gallerists
January 2025
6 min read
We couldn't wait to release this amazing dialogue with Athina Sanvido and Juliette Miller, perfect timing just before their third event with Refusés on 7th February.
We release this surprise dialogue to speak with them about their academic backgrounds, the limitations they encountered in the art world, and why they felt the need to create something different. They reflect on the industry's rigid structures, the ways galleries can feel unwelcoming, and how artists are often pushed to the margins of the conversation.
Hey Athina, Juliette! How did your academic backgrounds prepare you for your roles in the art world?
(Juliette) “Hello! I would say we both come from a fairly traditional background in terms of academics. We both have bachelors in Art History. Athina also has a Master in Arts and Cultural management from Kings College and I have a Masters in History of Art from the Courtauld. Athina has also completed specialized courses in the art market. So I would say academically speaking, we have been studying this field from all angles for many years now.”
(Athina) “The main thing these backgrounds help with is having an overview of the field and a strong understanding of its different aspects. Art History is really important because it helps us connect with emerging artists. Beyond simply art market and business questions, we can go into a studio and have in depth conversations with artists about their references or inspirations.”
(Juliette) “Yeah honestly just being able to nerd out about art and all the wonderful layers and references there are in contemporary works is great, it allows us to build rapport but also backs up our genuine appreciation for art.”
(Athina) “In addition to my degree in Art History, I actually studied Business Administration. This gave me a well rounded education. At the end of the day, the art world is a business and beyond the cultural aspects, one has to deal with the market and all the industry’s dynamics. This is what laid the foundation for doing what we are doing now.”
What initially drew you to pursue a career in the art industry, and how has your perception of it evolved over time?
(Juliette) “For me I actually started out wanting to be a lawyer. I had finished my course credits early and was looking to fill my last year of university. I picked up some art history courses and essentially never looked back. I was raised in a very artistic family, so perhaps that sensitivity was intrinsic to me. I then worked in different galleries around the world. I think the main thing was realizing how little room for change there is in this industry. The model is the same and has not adapted over centuries. I have so much respect for the galleries that have taught me everything I know and the hard work they’ve put in to make a name for their artists and themselves. But honestly, part of me was bored, because they were all chasing a singular model that is, in my opinion, already exhausted.”
(Athina) “When I was reflecting on which path to take for University, I decided to devote myself to what came most naturally to me. In my spare time, I have always prioritized museums and galleries. So I thought, why should this remain simply a passion? It has been 8 years since I started, and over the years, I have been able to discover many nuances to this industry. One of the things that surprised me the most was realizing how the job opportunities were always kind of the same and how in one way or another, despite being a creative field, we end up in similar dynamics.
Another surprise was how unfortunately artists are often no longer at the center of the discourse. I think the scale of the art market has displaced our focus. Finally, another thing that struck me was how galleries are often unwelcoming, cold and empty, and no matter how much you actually are part of that world, there will always be someone who won't make you feel up to par. A big part of the gallery system today is a constant competition of who knows who and who has more to offer. It is this whole set of things that led me to create Refusés together with Juliette. ”
What inspired the founding of Refusés, and what is the significance behind the name?
(Athina) “Refusés comes from the Salon des Refusés of 1863. Historically the French Government sponsored the Salon de Paris which was a roundup exhibition of the “best artists.” In 1863, rejected artists got together and petitioned the Emperor Napoleon. He agreed to give them a little section of the salon to show their works. This was the “exhibition of the rejects”, they were mercilessly mocked by critics and the public. Among the artists in this Salon des Refusés were artists like Courbet, Manet, Pissaro. Going forward, for every year there was a Salon de Paris, they also exhibited a Salon des Refusés, showing avant-garde and impressionist artists that were departures from the typical style of the time. Some consider this salon as the birth of Modern Art.”
(Juliette) “It was a new wave for the art world, similar to what we are looking for with Refusés.We want to bring a fresh approach to the gallery system by creating welcoming exhibitions, bridging the artist studio and the commercial side and creating more dynamic and diverse spaces. Fundamentally we see the gallery as a place of exchange, something we think has been lost in the current art landscape. Athina and I are interested in the Salon des Refusés reference where outsiders change an industry and become the mainstream. This idea of working within the system in place but making it our own regardless of tradition is truly the core of Refusés.”
What do you find most fulfilling about working with emerging artists, and what are some of the biggest rewards?
(Juliette) “For us the most fulfilling thing is being able to help them bring ideas to physical reality. Part of the Refusés model is that the art comes first and we build the exhibition around the project. The nice part about working with emerging artists is that they are often bubbling with ideas.”
(Athina) “Being side by side with an artist through a period of creation is the most important thing. To follow the very moment of conception, birth and production is magical. And to be able to give support and guide them through this process is what makes us very proud of our work. To then share these projects and collaborations with the public is another great satisfaction, but that is yet another story.”
We cannot wait for your third event, here in London on February, 7th. What should attendees expect to experience from the evening?
(Juliette) “Yes us too! We are hosting a gala and silent auction in London on February 7! We are deeply committed to bringing people into the art world who may not be introduced to it yet. Refusés wants to build the next generation of collectors, and with this comes sharing our love for art, our artists and this community we are building. How often do you get to have dinner next to the artist of your favorite work in your house? This is the idea of the event. We want to bridge the gap between the commercial aspect of collecting and the artist studio. And of course we do this in pure Refusés style, with a fun atmosphere, music, food and drinks.”
Looking forward, what are your plans for Refusés this year? Anything you can share with us?
(Athina) “We have a busy schedule this year already which is very exciting! We are working on a very special project this summer which will be a little different from what we usually do, but this is exactly the spirit of Refusés, thinking outside the box.”
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