By Federico Curutchet
Simple and close is the domestic universe presented by Santiago Villanueva in his solo project with the Isla Floating gallery in the U-Turn section. Following Gumier Maier, who is considered Argentina’s first curator, the artist, researcher, and curator travelled two weeks to the River Plate Delta to rediscover the domestic curatorial model and recover the peculiarities of the famous and never well-weighed typology of he house museum. “The museum house – the artist says – mixes the personal and the general, the historical and the banal, the objectual and the experiential, the lie and the verifiable facts. What can we learn from it? How to observe it?”. With this bunch of questions, they disconcert the seemingly unconnected objects distributed in the booth: some spirals, two sticks, some pineapples, and three chairs. Soon after, interpretation finds its way: there are no insignificant objects; every object has a story to tell.
Romina Casile, in the space of the Acéfala gallery in the Barrio Joven of the fair, also shares a story through a domestic universe in her Vocal Trap (USD 21.000).Or rather, it is the tables and cabinets speaking loudly, in a closed circuit of zinc megaphones and labyrinthine pipes. Transposed furniture, mutated and monstrous, seizing the space and surprising all visitors for its inhumanity this seems to challenges us all with a voice.
Open to the public from Saturday May 26th to Sunday November 25th 2018, at the Giardini and the Arsenale, Freespace, the 16th International Architecture ExhibitionTitled FREESPACE, will be curated by Yvonne Farrell and Shelley McNamara, Directors of the Irish firm Grafton Architects, winners of numerous international awards and recognized for a relevant academic activity. La Biennale di Venezia President, Paolo Baratta, explained that this edition focuses on the question of space, the quality of space, open and free space. The fundamental parameter of reference is indicated with great clarity. «The desire to create FREESPACE can become the specific individual characteristic of each individual project. But space, free space, public space can also reveal the presence or absence of architecture, if we understand architecture to be thinking applied to the space where we live, that we inhabit.» This year the exhibition includes 71 participants between Giardini and Arsenale with 63 countries represented; they will be joined by others gathered in two special sections: Close Encounter, meetings with remarkable projects (16 participants) where will be presented well- known buildings of the past to install a new reflection; and The practice of teaching (12 participants) that collects projects developed as part of teaching experiences. Curators explained they discovered «invention and creativity at the micro and macro scales historic buildings liberated by the intelligence of the architects; forgotten buildings re-visited and brought to life; transformative typologies of habitation; infrastructural needs translated into public and civic facilities.» Furthermore, «a key component in attending to the continuity of tradition in architecture is the practice of teaching». Curators have used the Manifesto FREESPACE, issued in June 2017, as a reference point for putting the exhibition together. This text contains a vision of architecture as the translation of a need in a significant space. They believe that everybody has the right to benefit from architecture emphasizing its role in the choreography of life. They see earth as a client. This brings with it long-lasting responsibilities. Architecture is the play of light, sun, shade, moon, air, wind, gravity in ways that reveal the mysteries of the world. All of these resources are free. The exhibition promise is to have a spatial, physical presence of a scale and quality to communicate architecture’s complex spatial nature. Some of the most well known architecture firms of the world are represented at the Architecture La Biennale exhibition, as Álvaro Siza (Portugal); Atelier Peter Zumthor & Partner (Haldenstein, Switzerland); Benedetta Tagliabue – Miralles Tagliabue EMBT (Barcelona, Spain; Shangai, China); David Chipperfield Architects London, UK; Berlin, Germany; Milan, Italy; Shanghai, China); Diller Scofidio + Renfro (New York, USA); Elemental (Santiago, Chile); Kazuyo Sejima + Ryue Nishizawa / SANAA (Tokyo, Japan); Paulo Mendes da Rocha (São Paulo, Brazil); Toyo Ito & Associates, Architects (Tokyo, Japan). The Awards Ceremony will take place on Saturday May 26th, 2018 during the opening of the 16th Exhibition. The international jury will announce the winners of the internationals awards: -Golden Lion for best National Participation -Golden Lion for best participant in the International Exhibition FREESPACE -Silver Lion for a promising young participant in the International Exhibition FREESPACE The Jury may also award a maximum of one special mention to National Participations; a maximum of two special mentions to the participants in the International exhibition FREESPACE During the time of the event La Biennale will also host the 12th International Festival of Contemporary Dance (June 22nd- July 1st 2018); the 46th International Theatre Festival (July 20th- August 5th 2018); the 75th Venice International Film Festival (August 29th- September 9th, 2018) and the 62nd International Festival of Contemporary Music (Sevptember 28th- October 7th, 2018). For more information: www.labiennale.org
Buenos Aires is positioned as one of the most important capitals of the visual arts of the Latin American region. This May, together with the inauguration of the 27th edition of arteBA – the capital’s contemporary art fair – the most important galleries and art centres are showing their most valued exhibitions of the year
Barro Gallery: Joaquín BozWHERE: Barro Arte Contemporáneo_ Caboto 531_ La boca, Buenos Aires. Galería Barro presents itself as one of the most important spaces of the Federal Capital, with an active participation in the art fairs of the region and high-level artists, offering a view of the new Argentine way of painting. The young Joaquín Boz, born in 1987, exhibits large-format pictorial works in these rooms: we can talk about a reinsertion of abstract painting. A work composed trough the chance of the materiality with a palette perfectly built and an imaginary related to gesture and body action, is the proposal that lead the name of Notes on the days. The text, written by Veronica Flom, cites an interesting concern that science has not yet been able to solve: shyness among the trees: “Certain species approach their branches and their cups but they never touch”. Boz’s work starts from here, further extending to the relationship between the balance of freedom and the sharpness of the stain as one of the subtle visual investigations developed into the room.
OSDE Foundation: Enrique Ježik, In Self DefenseWHERE: Av. Leandro N. Alem 1067_ floor 9_ Buenos Aires_ Argentina. OSDE Foundation, created in 1991, is presented as a space to stimulate culture and medicine. An interesting sample of art related to both themes is the work of Enrique Ježik, an artist belonging to Grupo de la X, an Argentine group active between 1986 and 1987. Mexico-based, he came back to Argentina to feature In Self Defense, whose title dates back to a 1996 artwork, in which human bones are presented in a glass box protected by a fence. This time, he Ježik is presenting a series of works created between 2001 and 2018. An extensive trajectory exploring the body of the sculptor from his beginnings in art, and the artist’s own body. Presenting himself as an “interpreter” he is involved – as artist, subject and director – in all the actions retained in the videos and installations. Twelve works make up the exhibition, facing many different themes such as violence, the dispute between territories of power, domination, violence, resistance and destruction.
Espacio Munar: The rhythm and the line/ Dying in the attemptWHERE: Av. Don Pedro de Mendoza 1555_Buenos Aires_ Argentina. Munar was opened for the first time in the 90 as a space for the development of local design, but after the crisis years it had to close. Today it’s re-opening with another perspective: the search for art, with a focus on the professionalism of both craftmanship and materiality. We suggest you a couple of interesting exhibitions, both supported by two important galleries of Buenos Aires. The first The rhythm and the line of Juan Sebastián Bruno and Donjo León and represented by the gallery Pasto, is exhibited in the room El pescadito. Taking as a main focus the famous quest about “who came first? – the rhythm or the line? ” we are faced with a large space with two interconnected works: the first one, Cross, by Sebastián Bruno is an allusion to the simple, to the potential energy of the initial composition, nevertheless still complex in its form and concept. The other artwork is by Donjo León, a sculptural and sonorous device, a machine aiming at manifesting the “barely visible”, as part described by Bárbara Golubicki and Alfredo Aracil in the curatorial text.
Espacio Munar: The rhythm and the line/ Dying in the attemptWHERE: Av. Don Pedro de Mendoza 1555_Buenos Aires_ Argentina. In another space, we can find a completely independent exhibition, Dying in the attempt: a five-artist group show proposed by the important gallery of Ruth Benzacar; – Flavia Da Rin, Marina de Caro, Carlos Huffmann, Eduardo Basualdo, Adrián Villar Rojas. The exhibition area is a canteen. This disturbing display reflects Argentine conceptualism and the empowerment of space and materiality; these five artists explore the imaginary of “dying in the attempt”. A subliminal and poetic text written by Carlos Herrera guides the exhibition describing a melancholic afternoon, where the death of some dahlias is the starting point for a meditation about life’s simplicity; and man’s desire for an eternal, timeless existence. An undeniable transversality occurs between the exhibited works and the curatorial text, encouragin us to look far beyond.
Galería Nora Fisch: Doble de cuerpoWHERE: Avenida Córdoba 5222_ Buenos Aires_ Argentina. Nora Fisch gallery, in the heart of the city center, is presenting the controversial and aesthetic photography exhibition of Alberto Goldenstein (1951) and Raúl Flores (1965), two Argentine photographers. Photography arises in the human eye as well as the immortality of light and instant. Throughout the social evolution we faced all changes related to the role of this discipline and we increased the number and variety of intertexts to show in a photographic action. Double body just insinuates a new role: who is the subject photographed? What is his reality? Who he really is? Where does he live and how? The atmosphere of each image – as many of Goldenstein’s works – disturb the viewer; his sharp compositions intimidates the reflection. The irony created by the colour palette is the starting point of an interesting reflection on the individual and his image.
Within the framework of the contemporary art fair of Buenos Aires Argentina, arteBA 2018, we have experienced the five best restaurants of the federal capitalArt is a pleasure that can be accompanied with the intensity of local flavors complementing the cultural proposal of each country.
EL BAQUEANOGEOREFERENCE: Chile No. 499 esq. Bolívar_ San Telmo_ Buenos Aires_ Argentina. Forging its meaning in the temple, the observation of time and the environment El Baqueano offers us a cuisine of Argentine origin, the experience of tasting products grown in different Eco regions of the country and developed under the protection of each season, does not cease to amaze us. The path of the observer develops on each plate. A space interrelated to the kitchen area is the necessary warmth to be able to enjoy directly the process of each preparation: unmissable are its llama meat and its preparations with quinoa. We can not leave aside their bar, that they call the space of the most spirited drinks in the world, next to a double-height cellar of 1200 bottles.
GREAT DABBANGGEOREFERENCE: Av. Scalabrini Ortiz 1543, 1414_ Buenos Aires_ Argentina. Noted for its fusion food – Asia and India, the sensation of a magical curry in the mouth invading the senses of exotic flavors is unforgettable. Colorful and unpretentious, this place puts your attention on each plate served on the table. An excellent service and reasonable prices are one of its attractions. Each ingredient, selected on the present season, composes the dishes of a short, but assertive menu. The combination of chickens, mozzarella and aubergines among other ingredients stand out in their proposal, although I cannot forget the carrot chutney and the exceptional raita. Mariano, the Chef, every now and then comes out of the kitchen to say hello.
CHILAGEOREFERENCE: Alicia Moreau de Justo 1160_ Puerto Madero_ Buenos Aires_ Argentina. They define their pillars as three: cuisine in its highest expression, quality and seasonality. Of my favorites, not only for its flavors, ingredients and dedication in the service but also for the originality and aesthetics in its presentation. The respect for the product of small merchants and in their organic times is reflected in each composition of their dishes. An elegant environment that looks directly towards puerto Madero creates the perfect atmosphere to enjoy each work of art reaching the table. Acoustic, few places have it so well resolved and a first class service. Highly recommended is the Menu of Times with pairing; the cava is composed of high-level wines, highlighting their Malbec and Pinot Noir. Impossible to forget the Tomato / Molleja / Yogurt Snack from Chimichurri from the menu, chapter XV.
PROPERGEOREFERENCE: Aráoz 1676, Palermo _ Buenos Aires_ Argentina. Housed in an old mechanical workshop, Augusto Mayer and Leo Lanussol’s restaurant retains its original aesthetic. With an integrated kitchen in sight, all focus is placed on the wood-fired oven being the meeting point for all its dishes. A space dedicated to national producers, following the rigor of all the restaurants exposed in this note; each ingredient is from the corresponding station that is why, with a young spirit it is one of my favorites, because of its varied and sophisticated menu. The plate of roasted eggplant, stracciatella, apricots and caper leaves was one of my favorites, the taste of the eggplant next to the caper leaves was delicious, a complete novelty for me. The rustic left of the wood on the ingredients is an experience that exceeds the capital and transports us to the origin of each food, with its cooking time to perfection. In this particular place the chosen dessert was like being in the glory, Roasted figs, fig tapenade and Camembert goat cheese, a logical mixture but achieved with total originality.
ARAMBURUGEOREFERENCE: Salta 1050 _ CABA_ Buenos Aires_ Argentina. A menu of 18 times with pairing can sound a lot, usually they are fewer, but I decided to take a risk. Dishes of a singular aesthetic and a deeply informed sommelier are the result of this pleasant experience. Aramburo is another of the places where I have been able to enjoy time as part of the meal, with an excellent service while tasting Argentinian products of healthy origin. The times with different meats and vegetables were the high note of this unforgettable experience.
By Tiziana Maggio
Look Lateral reporting from the opening night on the artists and galleries to discover this yearAt its fourth edition, the UK photography event of the year opened with a preview yesterday Thursday and promised to wow its visitors until May 20th at Somerset House in in the heart of London. After a very successful third edition, the fair is in fact coming back this year with more than 100 national and international specialist galleries and publishers from 18 countries and establishing itself as a must for all art and prints hunters and lovers. Magnum Photos at stand G6 is presenting a selection of prints, from the contemporary to the classic, from Bieke Depoorter, Alex Majoli, Matt Black, to Jim Goldberg, Carolyn Drake and Mikhael Subotzky. In particular with the last one, well-renowned for being an innovative creator, the visitors can actively be captured by the gigantic images. By just downloading the Avara application on their devices or borrowing an available iPad, they can direct them at the print and an Augmented Reality (AR) will bring the still photo alive, showing what was happening during the shoot. We recommend getting lost in the Discovery section, curated by art consultant Tristan Lund and hosting 22 emerging galleries and artists in a newly expanded dedicated space. First Chinese gallery in the Discovery, ON/Gallery from Beijing is presenting works by Shen Wei, which have a oneiric allure in their glossy fashion-magazine with a photo-journal’s authenticity. Rubber Factory (New York) is instead bringing an america allure with Pacifico Silano’ works where from few very measured details the viewer is free to guess an untold story of images.
Also this year Photo London is hosting a compelling talk-programme, installations, book signings and two awards, Magnum Photos Graduate Photographers’ Award and the MACK First Book Award. As it happens for the most popular fairs, also this fair is magnetising an increasing number of satellite events all over London: from Peckham 24 to Offprint at the Turbine Hall at Tate Modern, lovers of this medium will be ensured to have a busy weekend.
Before leaving, we stopped for a Japanese sake at the ‘Lip bar’ hosted by Hamiltons Gallery, which we recumbent and not just for the liquor. Replicating Bar Kuro in Shinjuku where the Tokyo’s independent photographer Daido Moriyama, recognised as one of the few living modern masters photographer from Japan, used to go for many years, this intimate special installation allows visitors to enter in a travel capsule where they can get closer to Daido’s oeuvre. It cannot be missed!
Go: to feed your mental database with the most solid reference for prints and to feel part of the always more demanding photography community.
Don’t go: if you don’t like the overwhelming Louvre’s effect.
Go: to feed your mental database with the most solid reference for prints and to feel part of the always more demanding photography community.
Don’t go: if you don’t like the overwhelming Louvre’s effect.
General Manager of arteBA Foundation, Julia Converti speaks about the Argentinian art market and contemporary cultural scene under the new government; the arrival of Art Basel Cities program: the expectations for the next 27th edition of the arteBA 2018 art Fair in Buenos AiresAt the threshold of the opening of the 27th edition of arteBA art fair in Buenos Aires, which will take place from May 24-27th in the La Rural Pavilions, we talked with Julia Converti, general manager of the arteBA Foundation. LL: What is arteBA Foundation evaluation of the art market in Argentina today, after years of restless work? What are its goals in the medium term?
JC: In 2017 Argentina gained key visibility in the international art map: becoming an “invited country” at ARCO Madrid 2017; The Parthenon of books of Marta Minujín was one of the iconic pieces of the last Documenta in Kassel; the Pacific Standard Time LA/LA in Southern California (Getty Foundation); Inés Katzenstein was named by the Museum of Modern Art of New York (MoMA) first director of the Research Institute Patricia Phelps de Cisneros for the Study of Art of Latin America; Ana Longoni was appointed Director of Public Programs at the Museo Nacional Centro de Arte Reina Sofia in Madrid. And of course: Art Basel cities Buenos Aires. In this context we are undoubtedly ready to inaugurate our 27th edition of the Fair, leveraging on 2017 great results. Balance? Very positive. Goals and challenges for the coming years? Encouragingly great. 27 years of passionate work and activism in the art field can only find their motivation and resolution into an absolute faith in what we have to offer: a very powerful and identified art scene continuously striving to gain its own reputation and willingly to engage in an international, enriching dialogue with the rest of the world. LL: What is the range of prices currently traded at the fair and what the sales percentage?
JC: Value can swing between amounts higher than USD 100,000 and a minimum of approximately USD 500 available in Barrio Joven section, bringing together galleries and emerging projects from Argentina and Latin America. Historically, we are the only Fair giving place to younger spaces to help them find some visibility allow new ways of collecting. This year we are launching STAGE, with the aim of enhancing young galleries’ proposals in the Main Section: as Barrio Joven it will attract new buyers and collectors. In recent years, sales have been really strong. Museums, active collectors, new buyers, emerging art, contemporary consecrated artists and modern art: the fair combines a wide range of proposals, for different tastes and interests. We bet this edition will be very important thanks to the high quality of offer and, of course, to the enthusiasm of the demand. LL: Can you recommend the 10 artists that should not be missed when visiting the 27th edition of arteBA?
JC: I think it is going to be a successful year since all curators have selected special projects mapping current trends. This will surely awake the audiences! It is difficult to pick only 10, but here we go! 1. Sandra Gamarra (Peru): 80 m2 Livia Benavides (Lima) 2. Eduardo Navarro (Argentina): Nara Roesler (San Paolo/New York) 3. Gala Porras Kim (Colombia/USA): Commonwelth and Council (Los Angeles) 4. Jimena Croceri (Argentina); Zmud (Buenos Aires) 5. Patricia Esquivias (Venezuela/Spain): Estrany de la Mota (Barcelona/New York) 6. Nicolás Paris (Colombia): Elba Benitez (Madrid) 7. Diego Bianchi (Argentina): Jocelyn Wolff (Paris) 8. Elisabeth Wild (Austria): Proyectos Ultravioleta (Guatemala) 9. Liliana Maresca (Argentina): Rolf y Vasari (Buenos Aires) 10. Ivana Vollaro (Argentina): Galería Hache (Buenos Aires) 11. Luciana Lamothe (Argentina): Ruth Benzacar (Buenos Aires) LL: For the first time this year arteBA is launching Zoom, a curated program of art installations that will join the exhibition circuit. What kind of artworks are involved? Are they iconic, large-scale works? Will they be on sale?
JC: Zoom is a new initiative supported by Quinquela Fondos; it features a different artistic concept for the fair: it is made by two projects selected by curator Alejandra Aguado, facing each others. 2 entries; 2 artists; 2 generations; 2 ways of projecting the future through a different way of inhabiting the world. The names behind these projects are Tomás Saraceno and Gyula Kosice. LL: How Mauricio Macri’s government and policies are supporting the promotion of Argentine art abroad? What do you think about the government’s recent decision to authorize the exportation of up to 15 pieces of national art a year, with no further processing than a notice to the Ministry of Culture?
JC: Public policies affect the local market in a very positive way. The latest regulation helps the circulation of Argentine art by stimulating key factors for its international projection. The new conjuncture will facilitate exchange, participation and international collecting of Argentine art. In recent years, the presence of local galleries at international fairs has increased thanks to the fundamental support of the Investment Agency of Argentina. This shift, together with the growing number of Argentine artists in exhibitions and residences abroad, are key factors encouraging us to continue stimulating and working for greater benefits and facilities in the art scene. Further regulations are on their way and, for sure, will have a very positive impact on the local market. LL: 2017 hosted the first global edition of the Art Basel Cities initiative, of which the arteBA Foundation is a Partner; and the Art Basel Cities week, curated by Cecilia Alemani, is now expected in September 2018. The arteBA Focus/District of the Arts platform seems to work in the very same direction. What domino effect do you expect for the art scene in Argentina?
JC: Art Basel Cities Buenos Aires program is undoubtedly another of the highlights of this moment. In November 2017, starting from a strategic alliance with the City of Buenos Aires, we worked together with Basel for the first step of the program. In this phase, more than 140 guests from abroad visited the city to join an exclusive agenda of events and activities connecting them to the local scene. The program was carried out within the framework of arteBA Focus, a new experimental platform we organized with the Ministry of Culture of the City. For its 2018 edition, arteBA Focus will renew its contents in partnership with Meridiano (Argentinean Association of galleries): the underlying idea is to offer a new event format (within the framework of Art Basel Cities) able to offer –like Gallery weekend –an artistic experience through three different areas of the city: Retiro/ Recoleta; Palermo/Villa Crespo; District of the Arts. These partnerships can really challenge the established, old working models and help us creating disrupting new proposals! LL: For its 25th anniversary, arteBA Foundation decided to create a magazine focused on documenting and spreading the contemporary art scene in Argentina. What has been the success of this initiative so far?
JC: arteBA Magazine is one of the last initiatives of our Foundation. It is a very important project sharing with the audience a selection of the current local artistic production, in Argentina and abroad. It reviews Argentine art exhibited in commercial galleries, foundations, museums and local and international events. During the 27th edition of the fair we are going to present the 5th issue of the magazine– which counts with a luxury, selected editorial board (Agustín Pérez Rubio and Leticia Obeid) and is dedicated to the work of women artists.
LL: arteBA stands out for the level of its acquisition and for its international programs positioning Argentine art. Can you mention some emblematic works of Argentine art that have been acquired by leading international institutions in recent years?
We developed our acquisition programs for local and international museums with the support of companies and private patrons; they have been key in recent years to enhance museum collections and spread the Argentine art all over the world. Each year, more than 20 museums buy new artworks. Museums such as Reina Sofía in Madrid, Guggenheim in New York, Tate Modern in London, Mali in Lima, LACMA in Los Angeles, MACBA in Barcelona have incorporated pieces by Liliana Maresca, Mirtha Dermisache, Magdalena Jitrik, Fernanda Laguna, David Lamelas, Ana Gallardo, Marta Minujín among many others. We’ll see how many artists will join the heritage of participating museums this year.
Review arteBA 2018 Exhibitors List, Exhibitors List arteBA 2018.
For more information, arteBA
Director of ARCO LISBON 2018, Carlos Urroz opens up about the artistic exuberance of the capital of Portugal explaining why is a great location for installing the sister fair of ARCO MADRIDA few days before the opening of the 3rd edition of the ARCO LISBON 2018 Contemporary Art Fair, which will take place between May 17-20th in the patrimonial building of the National Cordoaria Factory (established in 1779 by the Portuguese navy), we talked to the Director Carlos Urroz (also head of the long-lived ARCO MADRID since seven years). LL: ARCO Lisbon 2018 presents itself as a boutique fair, with a precise identity. Living an aesthetic experience, a curatorial project, through which connect with the culture, history, architecture and the light of the city. How does this program combine with the market needs required for an art fair like ARCO?
CU: ARCO has an international character by nature, and it also takes care of the local art scene enhancing a dialogue with international art. LL: Portugal is experiencing a moment of great artistic effervescence. How much of this scene is involved in the intense work of agglomeration and systematization arising from the fair?
CU: Portugal is experiencing a real boiling in the world of art and culture in general. The Fair helps to show the richness and diversity of this scene. It is a great opportunity to meet people from the art world and a unique moment of exchange. LL: ARCO Lisbon is a great example of collaboration between private and public. Between commerce and culture. Between tourism and foreign investment. How did the idea of a “country project” with an international organization like ARCO come out?
CU: Portugal is one of the historical allies of ARCO and it was chosen as one of the most attractive cultural spots with an increasingly dynamic market. It is ideal for a relevant and stable art events in the circuit of fairs for its unique artistic context and high quality, which will contribute to raising the value of Portuguese art and culture. ARCO Lisbon was born during a very good time for the Portuguese capital at all levels, listing some of the best artists in the world. Lisbon, for us, is the best place to go abroad and expand. And besides, it’s the city people want to stay in; a destination more and more people have chosen as a second residence, welcoming visitors with high purchasing power. In addition, we have had great support from Portuguese institutions, especially the Municipal Chamber of Lisbon, as well as the Government of the Portuguese Republic, the Direçâo Geral das Artes, EGEAC, the Marinha, Tourism of Portugal, Lisbon Tourism, patronage of Fundaçâo EDP, and also of companies such as Fundaçâo Millenium bcp, Navigator Art on Paper, Rom, Ruinart and Illy, among others. LL: The prestige of the ARCO conversation programs is reinforced in Lisbon thanks to the creation of the forum of European and Latin American museums, where different practices are interrelated and discussed at an international level. What has been the reaction of local institutions to this initiative and what are the main objectives of ARCO in this proposal?
CU: The talks and conferences are one of the hallmarks of ARCO, which has established as a space for the exchange of ideas and projects. The fair brings together directors of museums and institutions, curators, collectors and other international professionals of the art world from more than 20 countries. It allows the development of an interesting program of presentations, with free access for the public, featuring panelists to talk about art and collecting. Actually, the II Meeting of Museums of Europe and Latin America is also held, in this occasion, behind closed doors; it is led by Pedro Gadanho, director of MAAT (Museum of Art, Architecture and Technology of Lisbon), and by Ferran Barenblit, director of MACBA, Museum of Contemporary Art of Barcelona. Local collectors and museums, art centers and galleries have been involved both in this session and in the Collector’s Forum as well in The Museums Forum and in the curated sessions called what I am working on. LL: The present edition registers an increase of 22.5% of new exhibitors compared to 2017. Many Spanish galleries are willing to be part of this new European market. What is the interest of the local collecting towards the works of the international artists?
CU: Local collecting has always been very aware of Portuguese artists, and a fair like ARCO allows them to deepen and meet many more international creators. LL: Could you suggest us 5 good reasons not to miss ARCO Lisbon in 2018?
CU: Mainly, for the high quality of the artistic content of the 74 galleries from 14 countries participating this year. For being able to see in the same space the work of consecrated artists and young artists. For being able to start collecting through any of the publications exhibited in our editorial section As Tables are Shelves. For the magnificent architecture of the building of Cordoaria living with the most contemporary art. And finally, for the city of Lisbon itself and all the artistic programs that it proposes during the week of ARCO Lisbon 2018.
Review ARCO LISBON 2018 Exhibitors List, EXHIBITORS LIST 2018
Review LISBON ART PROGRAM, LISBON ART PROGRAM 2018
For more information, CLICK HERE
The short post-guide: Glasgow International finishes and this is our takeAfter almost three very busy weeks, the free GI festival finished yesterday, on a very fortunate combination of the Bank holiday weekend and temperatures reaching a high of 22 degrees. Glaswegians and fair visitors in fact have made the most of this warm weekend visiting and enjoying the festival fully for the last few days. From artists’ studios through to major museums, several locations across the city were involved, including the Forth and Clyde Canal and Glasgow’s network of subway stations and carriages. The art-hunters started every day touring from the city centre hub of Trongate 103 in the Merchant City where they could grab a coffee and GI map and plan their art walk and even bike tours leading to Tramway, Kelvingrove Art Gallery and Museum, Kelvin Hall and the Gallery of Modern Art and many other locations. As the director Parry said ‘I got the Subway this morning and came out at St Enoch and the whole floor of the station was covered in these vinyl artworks. They have transformed the space while not being overpowering. It lets everyone get on with their thing while being very beautiful.’ The performance and works displayed by Yon Afro Collective– YAC (Najma Abukar, Layla Roxanne Hill, Rhea Lewis, Sekai Machache, and Adebusola Debora Ramsay) appeared one of the post-brexit most significant events of this Biennial. Hosted by Govanhill Baths Community Trust and titled (Re)imagining Self and Raising Consciousness of Existence through Alternative Space and (Re)imagined Place, it very effectively pointed the attention on the lives of women of colour in Scotland narrating stories often ignored and and how the Black Other is viewed. Each YAC artist self founded the event and explored the topic through their media and craft, from paintings, photography to sculpture and text exploring the challenges of women of colour living in different socio-political environments. Planning already the next fair, the director Parry said he wants to increase access. “Within England, across Europe and internationally, Glasgow is really respected in terms of the artwork on show. And while there are a lot of people who know and love the festival, I think the biggest thing for us to do is to reach and invite as many people as possible to come and discover the amazing work being made here.” We can definitely say that also this year the festival has again succeeded in drawing a wider attention on the city vibrant artistic production and in positioning the Scottish artistic power-house in the centre of the international art plethora.
In NY for Frieze? We recommended you so much beauty to see and now we want to take care of your appetite too! So, after all that walking, here’s where to stop to eat something special
THE LOBSTER CLUBWHERE: The Seagram Building, 98east 53rd street, New york 10022.
CUISINE: Japanese, Sushi, Teppanyaki.
WHY: The Lobster Club is the third and final Japanese Brasserie by Major Food Group in the Seagram building. The Club serves a broad cross-section of cuisine inspired by Japan — from tempura to gyoza to robata grills… It’s not traditional Japanese, the dumpling section has a shrimp har gow, a little more Cantonese-style dumpling, and a Tomahawk ribeye is rubbed with cumin and a Sichuan spice blend. The roll section includes a California roll, the one that was invented in Canada. FUN FACT: It is the only restaurant in America designed by renowned architect Peter Marino.
FRENCHETTEWHERE: 241 West Broadway,New York.
WHY: The menu is a mix of traditional and modern French. The steak and duck frites are excellent. The traditional bistro menu takes some challenging directions, with foie gras toast, pigs’ foot croquettes, watercress soup, Peconic snails with scrambled eggs and the escargot come in a pool of scrambled eggs A rotisserie burnishes chicken for two, lobsters, côte de boeuf and whole turbot. FUN FACT: “Frenchette” is the title of a song David Johansen recorded in 1978.
DIRT CANDYWHERE: 86 Allen Street between Grand and Broome Streets, New York.
CUISINE: Vegetarian, Vegan.
WHY: Dirt Candy isn’t exactly a healthy vegetarian restaurant, it’s good for a vegan who wants to satisfy his eyes and the tastebuds too. The menu changes based on the seasons and the chef’s mood. Recommended for those who want very tasty meal! FUN FACT: It became the first vegetarian restaurant in 17 years to receive two stars from the New York Times. Was recognized by the Michelin Guide five years in a row, and won awards from Gourmet Magazine, the Village Voice, and many others.
ANNICKAWHERE: 544 Manhattan Ave, New York.
CUISINE: American food
WHY: Opened by the people behind Greenpoint Beer and Ale Co. and North Brooklyn Farms, is a place where there’s something for everyone. A collaborative menu for vegetarians and carnivores, a place where you can eat grains and butcher’s steak! All seasonfood and as green as possible. To try: SPRING VEGETABLE & HOMINY, lemon herb broth, snap peas, asparagus & macadamia ricotta add homemade pork sausage. FUN FUCT: Annicka will serve exclusively New York made beer, cider, wine and spirits, showcasing innovative local producers.
LA RINA PASTIFICIO E VINOWHERE: 387 Myrtle Ave, Brooklyn, NY 11205
CUISINE: Italian food.
WHY: LaRina features a menu made for sharing, with a vast drink selection. Food is made both in-house and imported from Italy. Silvia Barban is the italian chef and her menu is something divine! Her fresh pasta includes buckwheat shells, black bucatini and ruffled lemon-scented gigli that begs for a sauce of crab meat and cherry tomatoes. And much more… FUN FACT: There is an in house Pasta Shop where you can purchase any of their homemade pastas to take home!