Gallerist Kevin Troyano Cuturi on reversing the art world’s East–West flow

Defying the traditional West-to-East trajectory, Spanish gallerist Kevin Troyano Cuturi tells Dionne Bel how he’s reversing the flow, bringing a Singapore-born gallery to the heart of Paris

Installation view of Cuturi Gallery in Paris

Kevin Troyano Cuturi belongs to a new generation of gallerists redefining the geography of the art world - less bound by legacy centres than by flows of ideas, people and cultures. Trained in physics at Imperial College London before pivoting from a career in tech at Amazon to the art world, the founder of Cuturi Gallery has built his reputation on a distinctly cross-cultural vision, one that champions emerging voices while placing them in conversation with established international names. Since launching his gallery in Singapore in 2019, he has steadily positioned it as a conduit between Southeast Asia and Europe, fostering what he describes as a more fluid, transnational model of exchange. That ambition reached a new inflection point with the launch of Cuturi Gallery in Paris under the arcades of the Palais-Royal - an address steeped in cultural history and symbolic weight.

Following its inaugural group exhibition Decadence and Decay last March, the gallery turns to its first solo presentation, Trees of the Forest, You Know Our Soul, by French artist-designer Hubert Le Gall, on view until September 26, 2026. Conceived as an immersive, forest-like environment, the exhibition explores a poetic continuum between human, animal and natural worlds, extending beyond Paris to an off-site presentation of outdoor sculptures at Villa Noël in Provence in the south of France from June 12 to August 1. Up next, Cuturi has his sights set on London, where he intends to open a permanent outpost by the third quarter of the year.

Exterior view of Cuturi Paris, under the arcades of the Palais-Royal

Tell us about your background and early influences.

I was born in France to a Spanish mother and an Italian father, and spent most of my childhood in Marbella, in the south of Spain. My father Marco had a deep love for culture, and from a very early age - around 10 years old - he took me on one-on-one trips every summer to the great cultural capitals of Europe and the United States: Paris, Madrid, London, Rome, Florence, Venice, Vienna, New York. My very first museum experience was the Musée d’Orsay. After each museum visit, he would give me €10 to spend in the museum shop - back when postcards cost one euro each - and I had to choose my 10 favourite works, then write a short analysis on the back of each one. In a sense, I was building a little collection from every visit. So when I eventually had some disposable income, buying an original artwork felt natural.

How did you transition from physics and tech to the art world?

I have always been drawn to science. I was fascinated by the universe and the origins of life, which is ultimately why I chose to study physics. I thoroughly enjoyed my fouryear master’s degree, but decided not to pursue a PhD and joined an investment bank instead. It quickly became clear that path wasn’t for me, so I returned to Imperial College to help launch a start-up accelerator. That experience opened the door to the world of technology, and I was later hired by Amazon, which relocated me to Singapore. Art was a natural progression from my cultural upbringing. Buying a work of art for the first time was an incredibly rewarding experience – I loved the process of discovering something, making a decision and then living with that work at home. Over time, I became deeply passionate about certain artists I was collecting and began to feel that I could genuinely contribute to their careers. A gallery felt like the most meaningful way to do that.

A piece by Hubert Le Gall in the Trees of the Forest

Why did you choose Singapore as the base for your gallery?

My wife and I were fully committed to building our life in Singapore, so it was always the natural home for the gallery. From there, I set about learning to understand the local art landscape. I often say that a gallery is not simply a retail space selling luxury assets. We do sustain ourselves through commercial activity, but the heart of what we do is something different: It is about fostering an appreciation for culture. That mission has been with us since the very beginning. Singapore already has a strong cultural infrastructure, and if appreciation for art is nurtured from a young age, I believe the scene will grow considerably. Artists need to be able to make a living from their work.

You Know Our Soul exhibition and a piece by Hiromi Tango in the Decadence and Decay exhibtion

What is the role of a gallerist today?

Galleries are not simply retail spaces. We are cultural centres - places where visitors can encounter works, sit with them, be challenged or moved by them and perhaps ultimately acquire something that genuinely resonates. We stand behind artists with conviction, bring their work to new audiences and invest in their long-term careers rather than simply their next sale.

Why was now the right moment to expand to Paris?

I have always thought of Paris as the true capital of culture. It is the city I visit most frequently from Singapore, and, over the years, I have built genuine relationships there, with collectors who have supported the gallery from early on. The decision to open in Paris is linked to the location itself. I have always had a deep affection for the Palais-Royal, and when the opportunity arose to take a space there, I took it. We operate at the intersection of Southeast Asia and Europe - I don’t think it’s widely represented in Paris. There is a real role for us to play. The location is very unique, and with our small space, we can remain focused on curation. Beyond geography, the vision is to be present in cities where we have genuine roots and meaningful connections to give the artists we work with the platform and freedom to build real careers, and to inspire people who encounter their work.

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