Entrefotos phtotography fair helds it\'s XVI edition in La Casa del Reloj (Matadero Madrid)

The slogan with which this fair defines itself immediately reveals the intention of the organizers. This is an event that promotes the encounter and dialogue as equals between buyer-visitor and photographer-artist. The idea is to create a forum for direct communication, "without intermediaries", where the artist, omnipresent beside his work, has the opportunity to explain their work and the spirit of his creations, and the visitor has the opportunity to see face to face the artist hand, his/her intimate and personal universe.

 

The idea began 16 years ago, when the founders of the initiative detected a lack of more open and communicative proposals in the Spanish market. The enhancement of the photo seemed to require not only a recognition by the public, but also to promote discussion and exchange circles to reflect on this technique and contribute to generate a constructive discourse in dialogue with the visitor. And so, in 1998, Luis Baylon, José María Díaz-Maroto, Evaristo Delgado and Pasquale Caprile, at the study of the latter, in Madrid, decided to create EntreFotos. This enthusiastic quartet tried to emulate in our country the photography encounters that were spreading through Europe, and publicize the author photography. Today, after 16 years of uninterrupted call, the show continues to respond to the original idea with which was born.

 

EntreFotos is a gathering of four days devoted to photography and its creators, where all the curious, passionate, unbelievers and skeptics are welcome. Purchase invitations and other indecent proposals will be accepted. This edition features the participation of 35 artists, selected by an independent committee: Beroiz Pérez de la Rada, Alberto Espinosa, Andreas Strobel, Angelica Sole De La Llave, Carlos Regueira, Cristina Esteban Briones, Elena García Guerrero, Gert Voor in't Holt, Iris Encina, Jesus Botaro, Jorge Flores, Julian Ochoa, José Luis López Moral, José Luis Núñez, Juanma Vidal, Juan Sande, Laura Len, María Antonia García de la Vega, Oscar Rivilla, Ariza Pedro Gonzalez, Pepe Huelves, Pilar Pequeño, Ramon Fernandez Rafer Barcia, Rebecca Lebron, Rubén García, Soledad Pulgar, Tino Garcia, Valme de Toledo, Masaur, Maite Sánchez Urueña, Labandeira Jesús Gómez, Xavier Mollà i Revert and Zdenek Tusek. In addition, the exhibition offer is completed with a program of activities which foresees book signings, awards and the chance to see live the process of photographic portrait of the artist's hand Xavier Gómez.

Another point of reference in EntreFotos is the fair's prize in recognition of a career that each year awards to an author of reference. This time the winner is José Luis Mur who is also a photographer, was a founder of Fotocasión mid 70s, in the wake of Madrid, establishment landmark dedicated to the world of photography and is now one of the largest devoted to this discipline in Europe shops.
 
EntreFotos opens this Thursday, November 27th, at 18:30 and will be open until Sunday 30 at the Sala La Lonja de la Casa del Reloj of Matadero Madrid.
 
More information:
Programme (http://www.entrefotosferia.com/#!programa/c1543)
 

 

Buying the first work of art always instils respect. A difficult feeling to define that mixes vertigo with adrenaline. But over uncertainty and caution, a pleasurable sense of connection, understanding, and desire prevails. That work that, once seen, stays in the mind, reappears in the memory several times a day and seems to tell you that it is willing to be part of your home, is the perfect candidate to make the decision.

In the first steps, many collectors do point out that one does not start from an established plan, but rather that one acquires pieces based on taste and the connection one feels with them until, after time, they realise that the volume of works that accumulates can be labelled as a "collection". For example, this is how Alicia Aza explains it:

“I was not aware that I was collecting until many years later when a third party named me as a collector and talked about my collection. In 2005, I became aware of what collecting means and decided to articulate a collection with an identity of criteria and formats”.

Marcos Martín Blanco, co-founder, with his wife Elena Rueda, of the MER Collection, shares this same opinion:

“Collecting has been a passion, driven by a visceral state that encourages you to do so. The collection, in terms of acquisitions, has not been particularly complicated because, let's face it: it is easy to buy because they are all beautiful things and you have some clear idea of where you want to go, but at first those preferences were not so clear. It is with the time that a criterion is being formed”.

It is not always this way, of course, but for the buyer who starts out on this path, the personal connection that entails the first piece is essential. There it is the germ of a lasting relationship that is not limited to a simple aesthetic question but is an open window to knowledge, to exploration, to a world that is often unknown to us and awakens our fascination. The seed of that connection is purely sentimental, and it is precisely this impulse that determines the first acquisitions. The first piece is never forgotten.

Art Madrid'20, photo by Ana Maqueda

Exceeding the usual recommendations made by advisers and agents, rare is the occasion when the art lover decides to buy by pure investment. These paths usually open later, when the volume of pieces is large enough. In addition, there are those who are a bit against this classic concept of the traditional collector, approached from an eccentric, elitist and little accessible vision. On the contrary, art buyers are, above all, art lovers, sentient beings and permeable to creative stimulus who, at a given moment, decide to deepen the relationship they already have with art to take a piece home.

It is not that hard to overcome that small psychological barrier that turns the visitor into a buyer if one approaches the matter from a more personal and intimate perspective than from social consideration. Small-format works, graphic work or serial photography are of great help for this, whose price range, generally more affordable, allows a closer comparison to the daily basis expenses. In this way, the purchase of art falls within the range of feasible activities and becomes something close and possible.

Art Madrid'20, photo by Marc Cisneros

At that moment, a different relationship with art begins, based on pure experience and coexistence with the acquired piece. Perhaps it can be seen as an act of daring, but on many occasions, it is more a matter of necessity and transformation. Collectors also agree that the acquisition of an artwork is an exercise on personal analysis and opening up to a new field of knowledge that was previously alien to us. Alicia Aza explains that the reason she acquired her first piece of video art, by Sergio Prego, is because she did not understand it and because she saw it as a challenge and an opportunity to self-improve. This open window to knowledge creates new connections and bonds with creators, as one of the most fascinating parts of the process. Candela Álvarez Soldevilla explains that

"I think the most interesting thing in the art world is talking to artists. They are people with a special sensitivity to listen and understand.”

And Alicia Aza also says:

"I can share the satisfaction of being able to count on many artists in my circle of close friends today, and that is a long way to go."

Thus, with works that seem acceptable within the horizon of expenses that each one considers affordable, it is easy to find a piece that catches us. Since then, our home also evolves into a space in which art has a permanent place and presence, and there is no doubt that this transforms us inside.

Art Madrid'20, photo by Henar Herguera

Jaime Sordo, owner of Los Bragales collection and founder of the 9915 Contemporary Art Collectors Association, has always defined his relationship with art as a true passion and a vital necessity. For buyers who start on this path, he has the following recommendation:

“It is an essential condition that they feel the need to live with their passion to enjoy the works. Another very important aspect is that before making decisions for purchases, they are informed, so it is necessary to read specialised newspapers and books, visit exhibitions and museums and a lot of contact with galleries, which is an important and very specific source of information of the artists they represent. Finally, the presence in national and international art fairs. All this generates information and training.”

Indeed, fairs have become a good place for discovery because they condense a wide offer and allow diverse and global contact in a concentrated way. For this reason, many new generation buyers start in the context of an event such as Art Madrid, whose closeness and quality constitute a unique opportunity to meet, soak up and feed the passion for art.

(*) quotes taken from various interviews published in public media between 2013 and 2019.