Idan Wizen
Photographer, Curator and Gallerist
Idan Wizen is photographer and artist, curator and gallerist. After studying art direction in Paris and London, he dedicated his career to exploring human identity, freedom, and diversity through photography.
Idan Wizen is also the founder of Studio Idan, a Paris-based gallery. Located near the Pompidou Center in the Marais district, the gallery features renowned contemporary artists.
Idan Wizen, a member of the Jury Committee for the FotoSlovo Awards 2025, shares his insights in an exclusive interview with us.
Idan Wizen is also the founder of Studio Idan, a Paris-based gallery. Located near the Pompidou Center in the Marais district, the gallery features renowned contemporary artists.
Idan Wizen, a member of the Jury Committee for the FotoSlovo Awards 2025, shares his insights in an exclusive interview with us.
"Participating in contests, awards and festivals is often a great way to stand out! A busy gallery owner may not always have time to review every submission, so seeing a photographer’s work at contest can be a quick way to discover new talent"
— Hello Idan! You have been running and you're an owner of the “Idan Wizen Gallery” located in the centre of Paris. From your experience, what are the key criteria you consider when deciding to showcase a photographer’s work in your Art space?
How do collectors and buyers influence the type of photography you exhibit?
How do collectors and buyers influence the type of photography you exhibit?
— I primarily rely on an immediate and personal connection to the artwork—what you might call a “coup de cœur.” Rather than judging a single piece on its own, I look at the photographer’s entire body of work. I seek a strong aesthetic sense coupled with a meaningful or thought-provoking concept behind the images. As for collectors and buyers, their preferences do not determine the exhibitions. Rather than seeking artists to please existing collectors, I prefer to champion the photographers I believe in and then find collectors who share that vision. It does not always work out perfectly, but this approach preserves the gallery’s artistic integrity.
— How important is it for photographers to participate in contests, awards, or festivals to gain recognition in the professional art world? What advice would you give to photographers looking to catch the attention of gallery owners like yourself?
— Participating in contests, awards and festivals is often a great way to stand out! A busy gallery owner may not always have time to review every submission in detail, so seeing a photographer’s name or work at a festival or in a contest can be a quick way to discover new talent. These events serve as filtering mechanisms, allowing us to spot emerging photographers more efficiently. Of course, this is not the only path to success, but it can be an excellent means of getting noticed by galleries.
— How important is it for photographers to participate in contests, awards, or festivals to gain recognition in the professional art world? What advice would you give to photographers looking to catch the attention of gallery owners like yourself?
— Participating in contests, awards and festivals is often a great way to stand out! A busy gallery owner may not always have time to review every submission in detail, so seeing a photographer’s name or work at a festival or in a contest can be a quick way to discover new talent. These events serve as filtering mechanisms, allowing us to spot emerging photographers more efficiently. Of course, this is not the only path to success, but it can be an excellent means of getting noticed by galleries.
— Do you follow winners or finalists of major photography contests when selecting artists for your gallery? Do you prefer working with photographers who have an established reputation, or are you open to showcasing lesser-known talents?
— Yes, I often keep an eye on contest winners and finalists—it is a practical way to stay informed about promising artists. However, an established reputation is not a prerequisite for exhibiting at my gallery. I am always open to showcasing lesser-known talents if their work resonates with me. Sometimes new voices bring fresh perspectives, which is exactly what I’m looking for.
— What role does social media presence or self-promotion play in an artist’s chances of being selected? Beyond artistic quality, what factors (e.g., marketability) influence your selection process?
— In today’s art world, we expect photographers to be more than just creative—they must be entrepreneurial as well. While the gallery handles much of the commercial side, we share the responsibility for communication. It is essential that an artist be willing to promote their work and build an audience. Beyond artistic quality, we look for professionalism, a clear sense of direction, and the ability to engage viewers. An artist who takes self-promotion seriously is more likely to succeed in a collaborative gallery setting.
— How do you see the future of fine art photography in galleries—what trends should artists pay attention to and what subjects interest you when selecting artists for exhibiting them?
—I believe that compelling ideas and narratives will be more important than ever. With the rapid rise of AI, purely technical prowess is likely to become less of a differentiating factor. What truly matters is the strength and uniqueness of the concept behind a body of work—how the photographer offers a new way of seeing or interpreting the world. Of course, aesthetics remain important, but “just a pretty picture” has never really been enough. Strong storytelling, authenticity, and an innovative approach are what catch my attention now and will continue to shape the future of fine art photography.