THE PORTUGUESE GALLERIES OF ART MADRID FAIR

While Art Lounge repeats in Art MAdrid, Nuno Sacramento and Arte Periférica are premiered in this edition with new artists and others of recognized trajectory. An opportunity to get closer to the Portuguese art market.

 

 

Papartus. Untitled - Mixed media on canvas - 200 x 200 cm - 2014

 


The gallery Nuno Sacramento was founded in the city of Aveiro (Portugal) in 2003. In 2009 the gallery changes its headquarters to Ílhavo, where it has a space specially designed to be a contemporary art gallery. Nuno Sacramento performs six individual and collective exhibitions per year, and publishes catalogs about its artists. In addition, he actively participates in museums and cultural centers in many Portuguese cities and around the world, highlighting those made in the Museum of Decorative Arts in Havana and those of the CEART Museum in Madrid.

 

Nuno Sacramento comes to Art Madrid’17 with a monograph by the artist Papartus, who returns to the cultural scene in Madrid with recent works of large format. Some of the artist's pieces are in public collections such as the Huarte Museum in Navarra, the Malaga Architects Association and the Pamplona City Hall, among others.

 

 

Joâo Noutel. Untitled - Mixed technique on MDF - 130 x 68 cm - 2016

 


Art Lounge Gallery, one of the veteran foreign galleries in Art Madrid, selects artists from many different origins, defending the importance of cultural exchange and promoting the work of artists little known in Portugal. Its intention is to enhance the internationalization of the contemporary plastic arts.

 

The gallery will exhibit in its stand the work of artists with very different lines, like Fabio Camarotta, Ana Michaelis, Joâo Noutel, the Spanish Carmen Calvo, Angela Bassano and Felix Farfán.

 

The work of Farfán (Brazil, 1960), for example, has enjoyed great recognition in South America, especially in his native Brazil, in the 80's of last century. His work has participated in numerous collective and individual exhibitions in Brazil, Brasilia, Recife, Olinda and Sao Paulo. In his art works, with a style very similar to Carmen Calvo's, the artist mixes drawing with the assemblage and collage, traditional symbols and popular culture in colorful mixed techniques on which embroiery, rips and colors to create their particular universe.

 

 

Camilo Alves. Zé Povinho according to Vetrúvio. Oil on canvas. 100x100 cm. 2014

 

Arte Periférica Gallery was founded in 1991 by Anabela Antunes and Pedro Reigadas and, since 1994, occupies a special place in the popular Cultural Center of Belem, on the outskirts of Lisbon, where it also has a shop of Fine Arts products. During 25 years of activity it has been outstanding for promoting the work of young artists from inside and outside Portugal, with special dedication to Spanish and Asian artists. Arte Periférica has imposed an ambitious agenda with 12 annual exhibitions.

 

His proposal for Art Madrid includes the work of Angela Sanchez, Eva Navarro, Eva Armisén, Camilo Alves and Isabel Sabino.

 

Isabel Sabino (Lisbon, 1955) has exhibited individually in Lisbon on numerous occasions, with Arte Periférica Gallery but also with the Galería Novo Século and at the Casa Museo Jorge Vieira. He has participated in collective exhibitions such as the Biennial of Lagos or the Biennial of Vila Nova de Cerveira. Her work, eminently on paper, is expressed in mixed techniques, watercolors and drawing to talk about an almost surrealist figuration in which the scenes - ilusions , allegories and dreams- appear fulled of color spots, geometric structures and apparently delocalized elements in a Painting full of energy.

 

 

 

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.