Julien Rademaker’s Amsterdam-based Bisou Gallery, doesn’t conform to the traditional white-box gallery model. Named after the French word for “kiss,” Bisou embodies a moment of lightness and spontaneity—qualities Rademaker feels are often missing in the art world.

Bisou Gallery represents  a variety of artists such as Pascal Duval, Faan Olgers, Steven van Lummel, and Jules Julien. The gallery hosts a collection of work by Kumi Sugai, Yuro Moniz, and Jamel Armand to name a few.

Alongside Julien’s work as a gallerist, he curates art for notable hospitality establishments across Europe.

With a background in interior styling, he brings a breath of fresh air to renowned spaces such as The Hoxton Lloyd in Amsterdam, where he curated the hotel’s permanent art collection, displayed throughout the hotel. At The Brecon Hotel, nestled in the mountain range of Adelboden, Switzerland, he enhances the interior with his distinct style, incorporating unique shapes, abstract forms, and contrasting pieces to create an eclectic yet comfortable atmosphere.

The Brecon Hotel, Adelboden, Switzerland

Sitting in his gallery located in the eastern docklands of Amsterdam, Julien shared his honest thoughts on the challenges of selling art, the impact of world events on creativity, and why he believes that art should be, above all, approachable and human.

PRINCE Magazine (PR): Bisou is a really enjoyable name for a gallery. What inspired it?

Julien Rademaker (JR): It came from an old idea I had years ago, actually. I was still working in advertising and wanted to create work that felt like a “kiss”—something brief but memorable, like someone catching your eye and then vanishing. That’s the feeling I want people to get when they see art here. Art doesn’t always need to be heavy or conceptual. It can be joyful, like a spring breeze, something that just… makes you feel good.

PM: You mentioned you had a show earlier this spring at the Pulitzer Hotel for Amsterdam Art Week, how did it turn out? Was it a success for the gallery?

JR: Yeah, it was incredible. The turnout was beyond what I’d expected. I brought Bisou into Pulitzer's garden room, and we transformed it with color and energy. It was packed, especially during the events. For a lot of people, it was their first time seeing our work, which was fantastic for visibility. Sales-wise, you always hope for more, but in this business, patience is key.

PM:Patience—that’s interesting, especially considering how challenging the art market is right now. Why do you think it’s so difficult?

JR: Selling art is like a whole other level. If you’re selling to a hotel or a corporate client, it’s straightforward. But when it’s one piece for a person’s home? They hesitate. People will spend €800 on a jacket without blinking, but when it comes to art, it’s, “Is it worth it? Does it fit?” Art is personal, and maybe it should be—it’s a bigger commitment than just buying something fashionable.

PM: Do you think current events are influencing how people think about art and spending?

JR: Definitely. There’s this general anxiety out there, with everything going on—the cost of living, the economy, the conflicts. It’s hard to justify a piece of art when you’re worrying about heating costs. The middle market for art is almost disappearing, in my opinion. People with unlimited budgets will always buy, but those in the middle, who might not buy art as an investment piece, are more hesitant than ever.

PM:  That must be a tough space to navigate as a gallerist. Does fear ever play into your decisions—like the fear of things not working out?

JR: Maybe I wouldn’t call it fear, but I definitely have doubts sometimes. You need a thick skin in this industry because it’s easy to feel like an outsider. For example, the big fairs like Art Basel; those can be overwhelming for me. The whole setup, the rush of people—it’s too much, so I stay true to what Bisou is about, I keep it small and managable. And honestly, I think that makes it easier for me to stand behind everything I do here.

PM: You’ve worked hard to make Bisou a “happy space.” You even added scent to your show earlier this year. How did that come about?

JR:  Yes! I collaborated with SOM Perfume, who make these beautiful, natural scents here in the Netherlands. We used crystal rocks that subtly diffuse scent into the room. It’s light, just a touch to create that extra sensory layer. It’s not like you’re bombarded with it, but rather it’s there as part of the atmosphere.

PM: Do you feel like there are misconceptions about art collecting?

JR: A big one is that collecting is only for the wealthy. Art doesn’t have to be unattainable. You can find something beautiful for €100 or €200 if you look. It’s about starting somewhere, preserving it well, and adding pieces over time. Collecting doesn’t mean buying to flip or as an investment; it’s about loving what you bring into your life.

PM: Have you ever thought of yourself as an “art collector” then?

JR:  I suppose I am, but it’s never felt like a title to me. I just collect pieces I like. I don’t buy to sell later; I buy what I enjoy. It’s the same with furniture—my house and gallery have a mix of collected items. If I love it, I keep it. And that’s all collecting is, really—just surrounding yourself with things that bring you joy.

PM: You’ve mentioned how personal art is to people. Has there been a piece that’s changed your view on art?

JR: Not any single piece, but art as a whole softens us. Whether it’s a painting, music, or dance, art creates empathy. When something moves you, it opens up that softer, more human side. I think that’s why I’m so passionate about it. Art connects us to each other, and that’s essential in a world that feels harder every day.

As our conversation winds down, Julien reflects on the importance of staying true to himself in a world that often demands conformity. “I’m here to show people the beauty of art, not to make it seem unreachable,” he says. Bisou is more than a gallery—it’s a gentle reminder of art’s power to bring a sense of lightness and warmth into our lives.