Tuesday, January 21, 2014

Pedro Oliveira

Pedro Oliveira says that the embryonic art market starts in the 80s, in Portugal. From 79-80, when the political situation begins to calm down, start opening some galleries, shyly. It was there that appeared the Gallery Roma e Pavia was through my brother. After 85 took care of the gallery. Earlier poured myself some friends, especially Jaime Isidoro, started with the artists of my generation. It was a bit of market / dealing: doing exhibitions, little by little, in new trends, but as we had to earn money doing parallel market, through friends who arranged more expensive works, as was the case of Jaime Isidoro. From 90 it started to grow, and appeared many art critics. From there I decided to move facilities and go for something greater, and came here. At the time it was the largest gallery of Portugal, and started moving towards the international market and does more international programming. I ventured out of here, to get contacts. That was my golden period, the decade from 1990 to 2000. I won enough money, things went fine to me, brought forth names of very interesting artists of international art. Despite all still kept some interesting pace until mid-2000. The discovery of the Brazilian market was at the entry of Brazilian artists. Now have 25 artists and 6 exhibitions a year do they have to wait 3 years to get around.

Pedro Oliveira is a defender that the galleries should be networking and do not mind sharing with other collectors galleries.

Pedro Oliveira believes it might be interesting to have specialized auctions houses of contemporary art in Portugal, such as Christie's or Sotheby's, and that this would not affect the galleries: "could not affect much if there was a history of good auctions level of contemporary art in Portugal, which never happened. "

Pedro Oliveira believes that auctions in Portugal are a mixed: it is with silverware antiques with contemporary art through. Contemporary art to appear at auction but strayed things. And all that appears is a very low, which is very bad. The only auction company that was willing to risk in doing one or two auctions of contemporary art in Portugal, was the S. Domingos, in Oporto, made ​​me for this proposal I submit to APGA (Portuguese Association of Art Galleries), only that APGA would not risk it.

Pedro Oliveira stated that there was much money in Oporto in the 80s; there were many collectors, especially in the industrial belt textile and footwear industry. I also had many contacts in Spain, especially Galicians who came here to Oporto. Since 2000 Oporto declined, Lisbon started to grow and began to appear in large collections in Lisbon. The head offices of large companies, some began to do, professionals, advisers, as Culturgest, EDP and Banks (Photo BES), but rather to individuals and to society PLMJ lawyers well-structured collections. Sáragga Leal was already a collector, was able to convince members of PMLJ to form a corporate collection, and have focused on very young people were helped by Manuel Amado, who is an art critic and at the time was the adviser of them. If there is an artist that starts getting famous they buy. Also began to open many galleries in Lisbon. Despite being in Oporto, I sold a lot to Lisbon and exposed some of my artists in Lisbon through some galleries or institutions, 2001-2008. Then came the collapse of Lehman Brother and ruined everything!

Pedro Oliveira states that art fairs are important. To disclose, to show and to create contacts. Got to sell all he had to empty the stand, at Art Basel Switzerland, which is the Rolls Royce of art fairs. Only this time the Portuguese cannot afford to do art fairs. There is no support from the state and galleries have as a priority, given the current time of crisis, survival. If I am selling a part Portuguese abroad, I am exporting a commodity with a special connotation linked to culture, which is an important embassy, ​​is an asset to the level of the country's image.

Modern and Contemporary Art Collectors

Luis Castelo Lopes states that the concept of art investment begins in 1973 or 74 in which the pension fund of the English Railway had money that was an absurd thing and found that there was likely to be monetized some of that money. And then grabbed 0.4 % of the fund, which at that time were 40 million pounds, and delivered to a committee chaired by a guy from Sotheby’s. And started selling 10 years later, on 83 and 89 until sold. Of the initial 40 million, they made 280 million. And there were many curators who advised.

The fact that several collections made ​​without criteria since the mid 80s here in Portugal, were bought by counseling sometimes not very good. These collections were made generally in a short time, between five and ten. Another reality, he says, is the collection made over several decades, twenty, thirty, thoughtful, and generally more successful in terms of investment. By his experience also linked to the antiques market, the collections of family, generations, which include, in addition to painting, the furniture, the silver, porcelains, are a tradition of a certain type of art collectors who disappeared in Portugal.

Regarding collecting art Fernando Santos points out the shortage of collectors: there are not many collectors. “There are few collections that can be called collection.” And stresses how good collections Ilídio Pinho, with about 700 works, but this project has stopped. The Berardo Collection is also mentioned as a good collection.

Jaime Isidoro in 2004 about art collectors in Portugal claimed "there are a few. There are two large collections of Portuguese art, which is mine, with about 500 pieces, made ​​over 50 years, and Manuel Brito; it was I who started Jorge de Brito. The Berardo Collection is not of Portuguese art, Portuguese art is misrepresented.

Manuel de Brito in 2005 relates to shortage of collectors “there is not much. There are group of lawyers Saragga Leal. "

Pedro Alvim also relates this tradition of collecting classical art and antiques as a reality throughout the entire Ancient Regime.

For Peter Meerker the reflection of the economic crisis on the art market in Portugal, already narrow, the situation is dramatic. "We're going to galleries and no sales, the market is very narrow.” Collector’s role is very important because their collections are deposited in museums, if we look at history and we see great works of art around the world in its genesis they began to be acquired by a collector.

Joe Berardo states that the initial acquisition of the works was taken by Francisco Capelo, taking advantage of a favorable environment of low prices in the late 80s. The Portuguese art in 2003 was represented with 40 works totaling about 660.

Thursday, January 16, 2014

Modern and Contemporary Art Auctions

As this art market began to grow and be attractive in several auction houses emerged in Portugal and associated themselves with this aspect of interest in the contemporary art market, mainly from 2000.

Auctions are essentially a framework of economic reference on the state of the art market.  Its activity is public, open and publicized, serve as guides to assess the quote of the artist.

Mainly specialized in the commercialization of art, ancient or modern, the auction houses have been ensuring their way into contemporary art in recent years.

The Palácio do Correio Velho Auction House was established in 1990. Currently beyond the Palácio do Correio Velho and Cabral Moncada, in Lisbon, World Legend (Leiria & Nascimento), S. Domingos and Marques dos Santos, in Oporto, are some which operate in this market.

Pedro Alvim states that in 1996, when Cabral Moncada Auctions was created, it was a very residual company. I came here in '99 and was a firm as at the beginning, very small. In fact the modern and contemporary art was completely residual. The first auction of modern and contemporary art was held in 2007 and from there make an annual auction only to the market for modern and contemporary art.

The auction houses that have traditionally existed in the Portuguese market until 2000-2002 were devoted to the antiques market.

Fernando Santos believes that currently the auction houses and galleries collide, there are a lot of offer, there are those who sell low prices by necessity, but some use auction houses for “strategy games “. Built up some artists like that, but it happens more in the international market.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Wednesday, January 15, 2014

Modern and Contemporary Art Museums

Manuel de Brito says that the 50s were a period of Franciscan poverty was linked to politics, first directors of the museums were academics, reactionary, had a Prime Minister who knew nothing of art and reposed confidence in a guy named Eduardo Malta, who was director of what is now the Chiado Museum, was the Museum of Contemporary Art. Anyone enter in the museum that was not academic. Making a living with art only on demand, particularly sculptors, and orders were made by the Government, by António Ferro, was a sensitive and responsible for advertising.

The Modern Art Centre of the Calouste Gulbenkian Foundation was inaugurated in 1983. It was the time when the work of modern art had almost no acceptance in Portugal.

Joe Berardo concerns regarding museums that artists benchmarking is not always the right one and is subject to the taste of the director of the museum that hold the position at the time.

Julião Sarmento highlights the lack of a contemporary art museum in Portugal, and the fact that this role be filled by private institutions such as the Gulbenkian or Serralves. "There are no museums; Portugal is the only European country that does not have a museum of contemporary art of the state. The Chiado Museum is a museum of the XIX century, is a box the size of a walnut shell."

Fernando Santos says that Serralves is losing power at this time. Had a very important director, João Fernandes. Tired, because things did not work well and there is no money for programming people end up discouraging and tiring.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Tuesday, January 14, 2014

Modern and Contemporary Art Galleries

The scarcity of gallery market in Portugal, the first gallery appeared in 1954, Jaime Isidoro (painter) with Alvarez Gallery in Oporto, although he had closed several years, and in 1964 the 111 Gallery Manuel de Brito, in Lisbon.

As regards Jaime Isidoro " There was no market, the exhibits were up, put up the paintings and retired without selling out ," Manuel de Brito relates the same decertified landscape of our art market " At that time it was unthinkable anyone have a project commercial gallery. " Manuel de Brito considers that the period was the biggest crisis that followed the April 25, 1974, because virtually closed almost all the galleries.

Manuel de Brito says that the first two exhibitions that made Paula Rego have not sold a single framework. Begins to have a more direct interaction with artists in a college bookstore that had side of the Faculty of Sciences at Lisbon, in an area of ​​3x4 meters, after stores were wandering around and I was getting these spaces. Never crossed my mind to be a collector, had some friends who gave me some things, but things that they did not confer great value, not me, because there were no numbers to overwhelm the idea that it was a value. I do not know why the artists were appearing: "why do not you make here one gallery? Had your friends and such,” " but this does not give me anything and my former employer partner said: but this gives something of the art? ", “Do not give anything" but I like to do things that not everyone has the outset a materialist interest. "

José Augusto França draws attention to the fact that the "Hundred Club" - exclusive group of one hundred members, passionate about collecting art contributing hundred escudos to a common fund, which would be applied in the purchase of works by Portuguese artists living through a draw - moved higher amounts of money than the National Museum of Contemporary Art. Although the activity has ceased in 1968, after two years of the club, Manuel Brito, treasurer during activity time that core would channel some of those contacts to his customer portfolio.

Regarding the evolution of gallery scene in the 70s records the inauguration of galleries, having lived throughout the first phase of its existence a period of strong political and social turmoil and virtually no art market, as is said by Alexandre Melo.

The gallery owners Fernando Santos and Pedro Oliveira, Oporto, and Cristina Guerra, Lisbon, arise in the art scene 20 years later, covering the effervescent 80 and subsequent years.

Fenando Santos says that our market is small, with prominence of Lisbon, which is situated the most of institutions, thus making it difficult to manage a gallery in Lisbon and Porto. Started is activity in the 80, invited by Gallery Nasoni in Oporto, with a project that has brought a dynamic to the art market. The Nasoni comes at a prosperous time, was well positioned had good relations with the media business. Became a reference of the art market in Portugal.  At this time the art market grew: There are more and more artists and more visibility. There are more galleries. There are art fairs. There are more private collections. The internet and social networks that did not exist 30 years ago, revolutionized a drastically the diffusion of information and communication The Portuguese art market has opened up to the world.

Juliâo Sarmento stresses that what matters for the internationalization today is the power of large galleries, major collectors, art consultants, and international curators, thus ruling out the possibility of any Portuguese gallery a Portuguese artist get put on top of that because internationalization Portugal has no power to do so.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Sunday, January 12, 2014

Collecting and Art Market in Portugal

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.
In this book Manuela Hargreaves give us a view of the modern and contemporary art in Portugal. The small world of Portuguese art which are almost nonexistent breath studies devoted to art collecting, the art market and, in general, what we might call the material conditions of circulation and reception of art objects.

A huge number of artists made the body of what one might call a Portuguese art, that is, an art that comes in fruitful dialogue, the major issues that arise to art internationally, but without having to do outside of Portugal throughout the XX century, and start with Amadeo, the fact is that, in cultural, economic and symbolic plans, the country was unable to follow this immense happen.

Culturally to see his first contemporary art museum, the newly created Serralves Foundation, opened its doors when the XX century was over. No public institution, so as to fit Gulbenkian solitary, private foundation, partly fill this gap . There will be many other examples of such inanity in civilized Europe.

Also critical, as well as the history of art in Portugal, were lame and slow to keep up with the bulk of the work of artists, only in the second half of the century institutions began to watch a more systematic effort to survey and critical attention to contemporary artistic production since the first half of the century, the reflection on art was scant and most often was left to mere journalistic description. It was not until the 70 of the XX century to appear a first synthesis of the XX century due to José Augusto França. Newspapers devote less and less space to the disclosure of this activity, having disappeared the few art magazines that briefly existed. In this sense the press failed.

On the economic front, the XX century was also a desert. Although some collectors have emerged, Augusto Abreu and Jorge de Brito, Portugal failed to sustained construction of a solid art market, able to give consistency to the circulation and sale of works of art and everything was confined to pioneer and historical activity of two galleries, Alvarez of Jaime Isidoro and 111 of Manuel de Brito, since all have not gone too timid and temporary experience.

The majority of Portuguese artists, is very interesting that his work was confined to the mediocre narrowness of a culture that disbelieves herself and whose guardians are essentially uneducated.

The relevant artistic activity going on almost all by the National Society of Fine Arts ( SNBA ), in the decades 60-70 .