modus operandi


we want art everywhere is a manifesto. The idea is to support creation, because wherever art and culture gain ground, innovation and freedom exist. It is not a romantic crusade, it is nothing more, nothing less, than the thoughtful construction of cultural directions adapted to each story. we want art everywhere does not hesitate to build cultural projects for companies whose main activity is not art.


we want art everywhere designs cultural projects (art, architecture, design) for public institutions, as well as for private companies, public authorities, artists or architects, museums, endowment funds and foundations and this, on different scales , in various European countries. we want art everywhere is a suggestion box, a nest of passionate creatives ready to constantly imagine new possibilities.


The curator or "curator" takes care of the works he or she chooses to show. More broadly, curating consists of constructing a statement in words and images. The space and the works interact and that is why we study the atmosphere of the places, take into account their history and examine the configuration of the spaces. Thus, the projects are designed in situ. We like the idea that fruitful dialogues are established between the works themselves on the one hand and between work and space on the other hand, that a course is established between coherence and surprise.


we want art everywhere is the author of tailor-made cultural directions for companies, endowment funds and foundations. We support cultural and social projects from their conception. To formulate them, we study the history of the company, its values, the aspirations of its leaders, as well as the actors present in the chosen field of intervention. We then produce the appropriate cultural actions and contribute to the drafting of annual activity reports. We also support private actors for one-off or exceptional tasks or projects.

cultural urbanism

we want art everywhere supports administrations, local authorities (city, metropolis, etc.) and teams of architects, builders and promoters. To explain this mission, we like to use the term "project designer". With our analysis of the territory, its history and its political and social issues, we design the city of tomorrow by your side. To do this, we like to participate in contests and consultations. We then enter into discussions with architects, urban planners, cultural actors and users. This listening accompanied by research work allows us to outline the desired atmosphere and propose a strategy to achieve it.

mooving image

All forms of moving images fascinate us: from works linked to the most traditional film techniques to the most innovative, immersive, surprising developments.


The notion of care is at the heart of our projects, as a medical subject (art/health/prevention/care), a societal subject (quality of life, ethics, living together, role in the city), working method and desired atmosphere for our projects (ability to understand, to give meaning and to act effectively in a context of use, to make the user an actor and bearer of evolution) or finally as a subject of individual or collective identity (personal development, CSR, etc.). With training provided in Denmark on art in hospitals (what does art do at hospitals?), Bérangère Armand accompanies you in your projects with high standards and care.

site specific

For our police stations as for our cultural urban planning projects, we are working on proposals designed for the places. The study of the 'atmosphere' of places is important to us. The work 'Atmospheres' by the Swiss architect Peter Zumthor has profoundly influenced our outlook and our modus operandi. The projects are thought out with the mind and with the body, listening to our senses which inform us about the space and what is at play there (light, materials, sound, environment, flow, etc.). The notion of in situ is also valid for online projects and the digital space, the particularities of which should be identified.


we want art everywhere intervenes in different ways in the juries, as a simple member in its capacity as an expert, or upstream, from the design of the competition. So, we write the call for projects and the specifications listening to the various stakeholders (architects, users, landscapers, promoters, public bodies, etc.). We then offer different types of organization: restricted calls or open calls. We then coordinate the follow-up of the applications and the analysis of the proposals in collaboration with experts in preventive conservation who validate the production methods and propose maintenance protocols.


Accompanied by conservator-restorers, we want art everywhere integrates the scientific and technical aspects of preventive conservation in all its proposals, from the design of the projects, then at each stage of the life of the works. We want to minimize the risk of degradation and extend the life of works in their original state, especially in public spaces. This expertise provided to artists, companies, collectors and public authorities is crucial and avoids costly errors and sometimes irreversible damage. We also want the works delivered to be documented in such a way as to simplify and anticipate their conservation, maintenance and protection.


we want art everywhere writes for artists, architects, galleries, public figures, magazines who solicit Bérangère Armand for articles, critical texts, competition texts, room sheets, notes of intentions, press kits, speeches, and this in the field of art, architecture or urban planning.


we want art everywhere acts as an assistant to the project management (AMO culture and art) in urban projects by supporting EPAs and competition teams (builders, developers, town planners, landscapers, architects). In addition, we want art everywhere supports artists, designers, architects (non-functional kiosks) in their production projects, particularly for creations intended for the public space.


Bérangère Armand participates in numerous conferences in France and in Europe. This research mediation exercise of we want art everywhere is valuable, allowing us to openly formulate the progress of our research, to share our activities or the details of our modus operandi. It is also a great pleasure for us to exchange and meet audiences. La Friche Belle de Mai, FRAC PACA, Villa Arson, Maximiliansforum (Munich, Germany), By Prinzip (Munich, Germany), Villa Massimo (Rome, Italy, German Academy), Biennale di Venezia and Center Pompidou are so many places where we were able to share our ideas.

research topics

We carry out each of our missions with a spirit of research. Lovers of art history and ideas, we study contemporary developments in the production of forms and thoughts. To do this, we feed on the thoughts of experts and have set up a cultural news watch. We read, listen, observe, write. All this allows us to be authors and not only witnesses of cultural life. Our favorite subjects are: the art-architecture link, the moving image, digital art, flowers, the landscape, the participative fact, new media, new places of life and culture, urban planning, etc The scope of our research subjects is constantly evolving through the projects entrusted to us.


we want art everywhere wishes to integrate the environmental dimension into all of our projects. We decline this objective in the form of commitments for the daily life of the office. In addition, in terms of production of works and design of projects, we take care to limit the negative impact of our actions by integrating the idea of ​​a second life for the resources of each project or object from its conception.

social impact

We want to create cultural and social value for everyone by carefully integrating the partners and stakeholders of places and projects from the design stage. Every year, we want to increase our social impact (number of people whose living conditions and access to culture have been improved). The teaching at the University of Nice-Sophia Antipolis of the Sociology of Culture and Publics allows us to have a fine awareness of the issues and tools to be mobilized.