With strong Argentine loop opens after tomorrow an issue that celebrates not only the history but the audacity to have looked beyond the establishment
MADRID definitely, there are no coincidences. In the Iberia flight 6844, day before yesterday, traveling to the Spanish capital to meet Guillermo Kuitca scheduled meeting: presenting an artist’s book in the space program Ivorypress, who heads Elena Ochoa, collector of art and celebrity married to Sir Norman Foster, the British architect and Pritzker prize, author of the famous “gherkin” in London.
Kuitca is one of those invited to the edition 35 “of ARCO, where the contemporary art fair held himself same. This year there will be a country invited, but 35 selected by Maria de Corral galleries, senior curator, former director of the Reina Sofia Museum, driving collection Caixa Forum and director of that Venice Biennale that took Jorge Macchi as Argentine representative.
Just in the same plane, traveling Orly Benzacar night before last, the protagonist of a return to glory. He displayed here in its stand Macchi’s work in the same range of galleries playing in the major leagues.
No one says it with all the letters, but this anniversary is the second time to lead the market Latin American, that Madrid is the beachhead in Europe. Many Latino galleries abandoned the Madrid arena in 2001 when Art Basel Miami turned on the lights of seduction and rode that perfect combo of Swiss precision, palm trees and good sales, aimed at boot time, by Sam Keller.
the Swiss skinhead beat her to ARCO and organized an exhibition of Latin spirit in the gateway of the United States. The strange thing is that the know how of the revelry and the list of guests gave his chief of press and PR, the españolísima Isabella de Mora y Aragon, who owns a book non plus ultra .
ARCO 35, the director Carlos Urroz and the Staff of the Instituto Ferial de Madrid (Ifema) celebrate the return of America. Maria de Corral, head of the team of curators, gallery brought back Benzacar, but also Mexican and Brazilian galleries, which were the first to begin the exodus of Barajas.
As there are no coincidences, we said, in 1987, I came across here, walking Serrano, with young black leather dress Kuitca with his gallerist then, Julia Lublin. Kuitca was the time and the birth of ARCO. The fair was born on the initiative of gallery owner Juana de Aizpuru, an Andalusian-blooded and red hair that sought new horizons for the transition Spain when Franco was back insulation. The first editions were in Casa de Campo, central location in exposciones, then moving to the Ifema exhibition halls, with the direction of Rosina Gómez Baeza, an executive formed in the ranks of marketing and business.
Since then, the fair has been a great deal for Madrid. has not been consolidated, at least for now, an art market such as London or New York. To achieve this, operators claim the VAT cut and patronage law to open the floodgates of money from corporations, banks and individuals. Nothing too different from what happens in Buenos Aires and how well known the minister Pablo Avelluto, who come to this city with his entourage to participate in the celebrations and listening in situ announcement it’s a secret voices: the Argentina has the votes to be guest country at ARCO 2017
Meanwhile, the city explodes.. Hotels full, an agenda of activities unstoppable, 221 galleries from 27 countries, more than 250 guests collectors, museum directors and 150 foundations. The budget of 4.5 million euros which requires riding ARCO, 20% is for special guests. Collectors red carpet the lion takes … and “often do not buy anything,” says Aizpuru own (Valladolid, 1936), which has no mincing words.
This format applies to all fairs: many guests about nothing, is a formula for losses. In any mode on the B side, is what has earned Madrid, a provincial town turned into sophisticated capital with the fabulous triangle of art that make up the Prado, Thyssen and Reina Sofia (the latter two did not exist when he was born ARCO ). Here, galleries pay 260 euros per square meter for a formidable public, though little buyer. That this fair also resembles arteBA, and not in vain are natural partners. Although lacking in Madrid which has plenty to Buenos Aires, this magnificent pool of young artists who amaze to star curators.
Relations between ARCO and Buenos Aires were always nearby. Ruth was feisty tenacious Benzacar Fair until his death in 2000; Rosina Gómez Baeza, director between 1986 and 2006, gave a big boost to the mid-nineties, when everything seemed to fall apart. It fell to the Basque Lourdes Fernández conduct the match in the crisis of 2008 and, in recent times, was the Spaniard Carlos Urroz, with great friends in Buenos Aires, who began to weave the fabric of “Latin American reconquista”. This year the local representation its ten Argentine galleries, among which are Infinity, Jorge Mara, Ignacio Liprandi, Nora Fisch, Rolf Art, SlyZmud, Henrique Faria, Document Art and Barro, along with Ruth Benzacar, of course.
more market here, the great merit of ARCO has been conquering the public, open minds, look no further than painters establishment proposed risk; encouraged to change and lay the foundations for a corporate collecting.
Tomorrow begins the program of special guests with a string of events in the Thyssen, the Reina Sofia galleries Fourquet Street, private collections and ARCO holding Lisboa, first branch of the Spanish brand across borders. Tomorrow will be the official opening, with the usual ribbon cutting of kings, Felipe and Letizia.
The gaze is fixed on the Argentina to the point that in the list of the top ten collectors “in Spanish “El Pais placed in an honor roll three Argentine Eduardo Costantini, Anibal Jozami and Jorge Perez. The Cuban born in Buenos Aires, considered the largest real estate developer in Florida, who will also stay this year with the ARCO Award for Best Collector.
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