INOCAP Gestion
INOCAP Gestion
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INOCAP Gestion has been committed since 2007 to supporting a productive and sustainable economy. Our teams are actively working on social and environmental performance, both in our internal practices and in our investments. This commitment has resulted in obtaining the SRI label for our entire range of French and European equities.
INOCAP Gestion’s teams extend these ESG approaches through daily actions and a strong commitment to social and cultural foundations and associations, as well as through support for the young French contemporary art scene.
Our objective is that these local initiatives, in the regions, this energy, this creativity can contribute to develop sustainability in the links between communities.


Our social and cultural sponsorship action

This is what we accomplish in our extra-financial management, but it is also the meaning of our daily action through the sponsorship we provide to projects and foundations that contribute to a more sustainable world, where artistic expression, intercultural dialogue and solidarity are the order of the day. Since its creation, INOCAP Gestion has been committed to two main areas: cultural and social sponsorship. In 2021 we are committed to :

Since 2011, INOCAP Gestion has been supporting the young French contemporary art scene, as well as artistic approaches in their plurality. INOCAP Gestion goes to meet the artists in their studios and enriches its collection every six months with a new acquisition. It is by respecting a perfect diversification between the mediums and the origins of the artists that INOCAP Gestion is proud to present its collection.
After participating in the launch of the contemporary art festival “Bienvenue” in 2018 and 2019, INOCAP Gestion is pleased to support “Photo Days”.

The INOCAP Gestion collection in a few dates

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Entered the collection in 2023

Laurent Lafolie, 1956.30, enamelled steel plates, 111 x 95 cm

The 1956 series comes from an archive saved from the rubbish dump and entrusted to Laurent Lafolie almost 15 years ago: a box of negatives of two hundred identity portraits taken in 1956 by the photographer Colette Defives, who practised her profession in the north of France. This was an exceptional moment in the mid-1950s, when the person commissioning the portrait appeared in his or her best attire. The ensemble is representative of a vernacular community and an era, with aesthetic attributes and clothing reflecting a sense of social class.

Entered the collection in 2023

Matthieu Boucherit, Déplacement, 2017-2020, Acrylique sur toile

In a choreography of gestures and meticulous theatricalisation, young men contort themselves and float in a space that seems weightless and gravity-free. Stored temporarily on the floor, the canvases turn and turn, moving at the spectator’s whim, while the performers adapt, bend, turn upside down and rotate. Like dancers, they offer a lively performance that, like a musical break, creates a moment of pause: all the elements of a song, from the vocals to the bass, with the exception of the percussion, disappear. With no context or horizon, the bodies echo this vibration, like a deep, muffled rhythm that spills out of the frame and invites us to step out of the field, to discover a different kind of movement.

Entered the collection in 2023

Coraline De Chiara – Le Mont Analogue 2022 – Huile sur toile – 30 x 30 cm

Entered the collection in 2023

Coraline De Chiara – Triangle de Karpman – 2022 – Huile sur toile – 46 x 33 cm

Entered the collection in 2023

Smith Bogdan – Photographie Smith Paris Contralto – 2022

Entered the collection in 2023

Hugo Capron – Feu d’artifice (vague) – 2022 – Huile sur toile – 170 x 150 cm

The first opus resulting from Hugo Capron’s research at Villa Kujoyama in 2019, this series of fireworks follows on from his previous work exploring the operational and compositional modes of painting. By combining pyrotechnic ornaments taken from Japanese catalogues from the early twentieth century with motifs of explosions taken from self-adhesive frames for mangas, the artist duplicates stereotyped forms on canvas and neutralises his involvement in the invention and arrangement of the elements.

Entered the collection in 2022

Alexandre Carin – Liquéfaction XXVII – Huile sur toile – 91 x 107 cm

Alexandre Carin first followed a scientific path, then went on to write and translate literature (Denoël, Actes Sud, poetry, etc.). Drawing and oil painting were for him a dazzling encounter. A necessity to advance in his research on light and time.

Entered the collection in 2022

Daisuke Yokota – 2019 – Inversion Type C, 112

Solarisation, a photographic process dating back to the 19th century and popularised by Lee Miller and Man Ray, is obtained by overexposing the film and resulting in an inversion of values. Well-known in black and white, its manifestation in colour photography is extremely rare and recalls the experimental challenges that Daisuke Yokota takes up in his practice. By choosing the title ‘Inversion’, the artist is simultaneously describing the physical phenomenon he has used to create these works, and giving us a metaphor for his relationship with photography and the world: considering the photographic object for its materiality rather than for the image of a reproduced reality.

Entered the collection in 2022

Julie Susset – Selva – 2022 – acrylic on canvas – 162 x 130 cm

After an exploration and an escape in her imaginary jungles, Julie Susset felt the need to empty herself, to lighten up. In this new series of canvases, the artist approaches the motif and reintegrates a subject, not in the sense of a proposal but rather of forms. It is a subject in the trace state, which wants to resurface, which opens a new research on its approach to composition. On the colour side, the palette is enriched and renewed: earth, yellow, ochre, brown and white are added to the artist’s usual colors. Canvases as many instruments, respond and play together on the tempo of the living, in a unity of body and soul.

Entered the collection in 2022

Alain Josseau – Les Géographes n°27 2012 – Watercolour on paper – 77 x 107 cm

The series of geographers started in 2001 and continues to this day is a series of watercolour ink drawings that represent politicians, soldiers observing, pointing, holding maps, or in front of “sand tables”, attending tactical classes there also in front of cards or playing strategy board games such as “Risk”. These images are also an echo of the military watercolours of the 19th century and a resonance with the rules established by Martinel (head of the topographical office of the battlefields of Piedmont then), who wrote a guide for officers to control painters in their work of depicting a battle.

Entered the collection in 2022

Raphaël Dallaporta – Lune, Astrarium Dondi,  – 2020 –Sublimation print, mounted and framed 81 x 70 cm

The works in the Astrarium series (2020) are a metaphor for the non-linear character of progress. Each photograph is the result of the movement of a dial of the Astrarium, the oldest known clock in history, made in the Middle Ages by Giovanni Dondi and disappeared in the Renaissance. This instrument raised the feat, by materializing the geocentric system, of calculating the positions at any time of the year of the seven great stars then known to science. In the mid-1980s, the International Watchmaking Museum (MIH, La Chaux-de-Fonds, Switzerland) managed to reproduce the clock thanks to the original manuscript of Dondi preserved for six centuries in Padua. By creating moving images of this clock considered in its time as a wonder of the world, Raphaël Dallaporta creates a new representation.

Entered the collection in 2022

Mishka Henner – Ellsworth Kelly’s High Yellow, 1960 – series “Sight Seeing” – 2021 –Laser cut box with pigment print mounted on dibond 70 x 50 x 5 cm

With Sight Seeing, Mishka Henner continues his questioning of the nature of the authorship of the work of art and focuses on his own gaze using an oculometry software, otherwise called «eye-tracking», to follow the movement of his eyes on a found image of High Yellow by American painter Ellsworth Kelly (1923 – 2015).

Entered the collection in 2022

Nicolas Chardon – CASE – 2022 – Acrylic on fabric – 100 x 100 cm – Unique

“The place of my painting is the painting. My work is based primarily on the observation of what constitutes it physically; the frame and the canvas fixed on it. But this canvas is special. Indeed, my supports are vichy, madras or scottish fabrics, as many colorful orthogonal canvas. The grid pattern of my canvases, distorted by tension, is both an elementary physical expression and a particular image. Something is played there, between the material fact and the iconic fact. Paradoxically, the deformation of the grid is proof that the canvas is well stretched, that it thus offers the ideal flat surface for the realization of a painting. My painting starts then.”

Entered the collection in 2021

Costanza Gastaldi – Loto Nero – 2021 – photograph from the gravure plate – 58 x 42 cm

The technique of gravure printing makes the mountains of Huangshan almost unreal and invites us to question the infinite potential of the photographic medium.

Entered the collection in 2021

Léo Dorfner – We’re living in a Social Network – 2021 – watercolor on paper – 150 x 110 cm

Léo Dorfner opens an infinite number of doors on an everyday universe from which he draws his references. It is by transposing the photograph on paper with a brush or a pen that the artist restores his microcosm.

Entered the collection in 2021

Arnout Visser – Basket 11 – 2019 – blown glass, wicker, silver nitrate – height: 61 cm

Arnout Visser is inspired by lost wax casting, which he calls “lost basket”.
The glass is heated to 700 degrees and becomes malleable enough to fill the interlacing of a wicker basket.

Entered the collection in 2021

Johan Viladrich – Stack Shelf  – 2021 – 15 brushed aluminum racks – 30 x 35 x 187,5cm

Stack Shelf is an absolute object. It exists by itself without style, design or referent.

Entered the collection in 2021

Hélène Padoux – Despite our good intentions – 2020 – acrylic polyester ink on canvas – 50 x 40cm

A fever dream of cute seduction intertwined with threats of toxicity.


Entered the collection in 2021

Petros Moris – Arrow V Marble – 2020 – marble – 140 x 140 x 2cm

The arrow shapes available online for use in educational, scientific or corporate contexts are inscribed on marble slabs in the form of CNC-cut inlays, in which the cut shapes and their positions are reversed before being reattached to the marble surface.

The abstract and multiform nature of the arrow sign intensifies the physical structure and metamorphic origin of the marble, making deeply visible the processes of geological transformation and entropic decay manifested in the use of stone in ancient ruins and urban environments.

Entered the collection in 2021

Daniel Blaufuks – Perpetual Camera – 2020 – frosted text on circular mirror – diameter : 100 cm

The artist questions the behavior of visitors who inevitably take pictures of themselves in front of “mirrors”.

Entered the collection in 2020

Anais Tondeur – 487 nm ou l’état chromatique de la mer – 2020 – photography – 100 x 70cm

This photography is part of a long-term series that invites us to observe the influence of the movement of phytoplankton on the palette of colors of the English Channel.

Entered the collection in 2020

Florence Obrecht – Faire des Picasso (Camilla-Thérèse) – 2019 – oil on wood – 30 x 24cm

Here, there is no question of assignments, no submission to a look, no passivity in the pose or the look, no constraint, no oppression.

Entered the collection in 2020

Petros Moris – Future Bestiary (Bull) – 2020 – sculpture (marble, steel, stickers) – 65 x 55 x 30cm

Archaeological artifact forms representing an apotropaic bull are reconstructed in marble from quarries around Greece. Linked to symbolic and physical instances of subterranean space, transformation and entropy, these tectonic bodies are joined by linguistic signs and digital images that encode pious speculations and emerging anxieties about natural ecosystems, algorithmic sovereignty and socio-political change.

Entered the collection in 2020

Enzo Certa – Peinture Dominicale 2 – 2020 – oil on canvas – 116 x 89cm

Always in close complicity with the color-energy, the composition seems to celebrate an episode both striking and nebulous.

Entered the collection in 2019

Élodie Lesourd – Inner (Black Metal) – 2008 – polyurethane painting on steel – 100 x 170cm

Elodie Lesourd superimposed the logos of four Norwegian “metal” music bands.
She erased the parts that were not common. She thus created a kind of non-logo, a spot where everyone can project what he wants.

Entered the collection in 2019

Neil Lang – Horizon N°8 – 2018 – inkjet printing  – 95 x 40cm

The horizon and Man are one. Representing past, present and future life, the horizon becomes that of our changing lives. This singular place of sharing between sky and earth is at the same time identical and always different.

Entered the collection in 2019

Coraline De Chiara – Napalm love – 2019 – oil on canvas – 55 x 60cm

« The passage of time inevitably subtracts elements »

Entered the collection in 2018

K-Narf – Projet Hatarakimono N°028 – 2018 – photography – 170 x 95cm

The Hatarakimono Project bears witness to a shaking of the world of work and immortalizes professions destined to disappear in a Japan turned towards the future.

Entered the collection in 2018

Valentin Dommanget – IRL VS IG N4 – 2017 – lenticular print – 84 x 60cm

The artist represents online communities via a database of screenshots provided by a friend with whom he has kept in touch through the internet.

Entered the collection in 2018

Antoine Coste – Quadrige Rendement – 2018 – oil on canvas – 38 x 45cm

The young street artist reinterprets the visuals of the Quadrige range. The work was declined for the whole range.

Entered the collection in 2018

Carline Bourdelas – L’inconnue – 2018 – print montage on Diasec – 100 x 150 x 6cm 

The unknown woman is one of the photos of the Divine series on the question of women. Would they be out of history and without action on the events, dependent and deprived of power?

Entered the collection in 2017

Dennis Rudolph – Paradise Lost – 2013 – lithograph on paper framed under glass – 100 x 70cm

Eight years ago, I was looking for a new medium to realize this project, Das Portal, in the Mojave Desert of California. My reflections led me to augmented reality, but the baroque motifs that I am taking up today were already present in this experimental offset print. The title can thus also be read in retrospect as a farewell to the artistic medium of 20th century analog printing techniques.

Dennis Rudolph – August 12, 2021

Entered the collection in 2017

Laurent Pernot – When a smile burns – 2016 – ink on canvas – 163 x 174cm

The work presented revolves around a questioning of time and life. Like Lucretius and the virtues of poetic honey which he uses to expose his philosophy, and in which one finds almost all the ingredients of contemporary science and philosophy, Laurent Pernot likes to conceive pieces apparently precarious and seductive to approach complex topics.

Entered the collection in 2017

Julien Beneyton – L’Œil du Tigre – 2017 – acrylic paint on canvas – 224 x 370cm

Fascinated by Rocky III, he met the boxer Jean-Marc Mormeck in 2013 and began an artistic collaboration: “L’ Œil du Tigre”.

Entered the collection in 2016

Jonas Wijtenburg – Osmosis #1 – 2015 – iroco, formica, acrylic paint, photo transfer, aluminum, steel – 100 x 86 x 35cm

The artist brings a new way of thinking about the concept of space and construction with modular profiles. On the other hand, Doryphorus of Polyclète brings us back to the harmony, to the foundation of the sculpture.

Entered the collection in 2016

Jeroen Frateur – Paysage avec Parapluie… – 2015 – iron, wood, various materials – 100 x 90 x 17cm

A status that hesitates between sculpture and installation.

Entered the collection in 2015

Mayat Rochat – Man in a cave – 2015 – ink jet on matte paper mounted on aluminum dibond – 150 x 110cm

The linear narrative of the photograph is broken under the pressure of the spray paint. It is creation by destruction.
Hiding the immediate reading, the artist offers the unknown.

Entered the collection in 2015

Maya Rochat – Board Floatty Painting2019 – Pain de mousse, résine époxy – 177 x 50,5cm

For the artist, the development of form starts from an awareness of the current change in the world’s material, which is in the process of changing.

Entered the collection in 2014

Élodie Lesourd – Dodsreligionen – 2007 – painting on wood – 102 x 152cm

The artist looks for views of installations referring to rock culture and asks their authors for permission to reproduce these images.
We find ourselves at the crossroads of two semantic fields, involving practices of divergent popularity: the cover in the musical domain and the appropriation in the plastic arts. If one is accepted, the other remains poorly understood.

Entered the collection in 2014

Valentin Dommanget – Digital Stretcher Studies X9 – 2015 – acrylic spray, chemical solution on canvas, wood structure – 74 x 113 x 10cm

The surface technique is inspired by Suminagashi (an ancestral Japanese marbled paper technique) and the form is the result of digital experimentation on 3D software.
The artist goes beyond the question of deconstructing the constituent elements of the painting. He creates an “augmented” canvas.

Entered the collection in 2011

Julien Beneyton – Sweating Losers – 2010 – five acrylic paintings on t-shirts

Portraits of artists, owners of the T-shirts, supporting their respective teams during the Football World Cup in 2010.

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With “Photo Days“, we go from historical photography to young French and international creation, from feminist commitment to interior travel, from documentary photography to plastic photography, passing by fashion, nudes or landscapes, from a real absurd world to a dreamed poetic world. From group exhibitions to monographs, from fairs to meetings, “Photo Days” takes you from one bank of the Seine to the other and guides you through Paris.

The creation of an art festival is a rare thing and should be encouraged. “Photo Days” has an ambitious approach that allows the creation of a total immersion in places and works of art, accompanied by professionals of the photography that are the gallery owners and the “Photo Days” teams. INOCAP Gestion is pleased to support this initiative for the second year.

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