NH Gallery in Art Madrid\'15

La telaraña mágica. Álvaro Barrios.

 

Nohra Haime Gallery has just turned four years of life in january. This young gallery, established in Cartagena de Indias, Colombia, has sought from the beginning promoting artists from all backgrounds, not just Colombians, showing a broad spectrum of contemporary art with works from all artistic disciplines. Nohra Haime also has headquarters in New York. Both locations are focused on designing a strategy for cultural exchange in the north-south axis of the American continent. Furthermore, the gallery has sought to effectively promote their artists through collaborations with other cultural institutions and the art world, which have become monographic exhibitions at venues such as the Art Museum of the Americas, Training Center Spanish Cooperation in Cartagena and the Museum of Modern Art in Barranquilla.
 

Prey. Natalia Arias.

 

The director of the gallery, Sara Angel, brings to Art Madrid'15 a proposal in which highlights the art made by women with works of Niki de Saint Phalle, Alvaro Barrios, Julie Hedrick, Valerie Hird, Ruby Rumie, Natalia Arias and Francisca Sutil.

Les trois graces. Niki de Saint Phalle.

 

Niki de Saint Phalle (1930-2000) is one of the most influential creators of the second half of the twentieth century .
 
This Franco-American artist received an education in line with the social codes of New York's upper class. However, his unique worldview, their rebellion and creativity joined to not follow the script was already written for her. Niki de Saint Phalle is a self-taught artist who has been defined as a feminist, radical and political.
 
In Paris at the New Realists is linked in the 1960s, when his series of her shooting paintings , and since then uses the media, like Andy Warhol, to consolidate their public image. His career includes numerous public art projects, among which are The Tarot Garden in Tuscany, or The source Stravinsky in Paris. It also conducts experimental film and stage designs for ballet but, above all, reach the public with the development of their Nanas, huge sculptures that revolutionize the representation of women in art. 

Vasija coronada. Ruby Rumié.

 

Born in Cartagena de Indias (1958), Ruby Rumié studied in the Fine Arts School of Cartagena de Indias. Since her first exhibition (1985) in Cartagena, in which she was clearly influenced by the hyper-realism, Ruby has tried to reflect the face of characters belonging to the Cartagenian landscape, being then the coachmen, musicians, barbers, children, women, old men and black nobles, the protagonists of detailedly made portraits. The assembly with dolls and geometrical accessories has been another period through which Ruby's artistic life has passed, who was also interested in acrylic technique, as the outstanding characteristic in some of her creations.

We can talk about an evolution in which Ruby has taken as departure point the classic to reach to alternative presentations in which she achieves to involve painting, photography and other techniques to show her change of perspective. She has made important exhibitions in: Bogotá, Barranquilla, Cartagena; Santiago de Chile; Miami; Nueva York; Washington; Rouen; París. Rumie participated recently in the international section of the First Contemporary Art Bienal of Cartagena de Indias. She actually lives and works between Cartagena in Colombia and Santiago de Chile.

 

 

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.