THE UNIVERSES OF THE LATIN AMERICAN GALLERIES IN ARCO

Marcelo Guarnieri reserves for ARCO a dialogue, in different degrees of voluntariness, but with the visible result, of works by Alice Shintani (São Paulo, Brazil, 1971) and LIUBA (b. Liuba Wolf, Sofia, Bulgaria, 1923 - São Paulo, Brazil, 2005), two worlds that, if they seem antagonistic at first sight, combine in the approximation of the use of geometries, accentuated by the concrete platforms arranged in the space that, in that conversation, highlight differences and similarities.

Another Brazilian artist that stands out in the tours is Porta Vilaseca, who with her precise production of balances between the universes of Kika Carvalho (Victoria, Brazil, 1992), pictorial, and Zé Carlos Garcia (Aracajú, Brazil, 1973), more oriented to the installation, although eminently sculptural, offer a gateway to a dreamlike yet subtly tense environment, shaped by the contrasting elements of both artists.

The Portuguese FOCO displays in its space an approach to the world of Francisco Trêpa (Lisbon, Portugal, 1995), a universe where his ceramic practices create dreamlike beings and environments, although with evident links to certain problems of the real world. The arrangement of the young Portuguese artist's works and the orderly, articulated and balanced dedication of his production in the space are allies to highlight the aesthetic qualities of his work.

Isla Flotante, participant in the program Profiles | Latin American Art, proposes the work of Mariela Scafati (Bahía Blanca, Argentina, 1973), and for them it uses the spatial criterion, as well as the need for the most appropriate approach for the exhibition of her work. The area occupied by her exhibition fits in what becomes enveloping, using the majority colors of the Argentinean artist's work to eradicate any distraction and in favor of the full integration of the visitor in Scafati's objectives.

Along the same monographic line, Gomide & Co. offers the great opportunity to delve into the figure of León Ferrari (Buenos Aires, Argentina, 1913 - ibidem, 2013) through a selection of works from some of his most representative periods. The São Paulo gallery judiciously arranges the impact of some of his most renowned and colorful productions in the foreground to draw the visitor’s attention to the depth of the Argentine master's work.

In the case of Mendes Wood DM, a gallery based in several cities, including São Paulo, it advocates the impact of the textile work of Sonia Gomes (Caetanópolis, Brazil, 1948), one of the precursors of the technique, which combines the verticality of her work with that of the more classical references in terms of format of the paintings of Carioca Laís Amaral (Rio de Janeiro, Brazil, 1993) and that of the rest of her bets for the fair, among which stand out the French Pol Taburet or the Belgian Bendt Eyckermans.

In the emergence of difference and how to conjugate it is the Mexican Mascota, a gallery whose list for ARCO does not include a Latin American presence, but that dynamizes, precisely for that reason, European and American bets that mark a certain variety in the look. Marie Hazard, Charlotte van der Borght, but, above all, Wyatt Kahn's or Yves Sherer's esthetic proposal, highlight the different artistic approaches, from the corporal register to the interaction of works apparently far from each other in every concept.

Among that eclectic bet, we also find Luciana Brito, a space that introduces Quimera, the renowned intervention by Regina Silveira (Porto Alegre, Brazil, 1939) and that presides over, or dominates the space with its commanding presence, works by renowned names of Latin American art. There coexist the sacks of Bosco Sodi (Mexico City, Mexico, 1970), the production of the last years of Waldemar Cordeiro (Rome, Italy, 1925 - São Paulo, Brazil, 1973) or prints by Caio Reisewitz (São Paulo, Brazil, 1967) that emerge to form a representative sample of that zone nourished by the masters.

Undoubtedly, the installation that Henrique Faría's space becomes in the program of galleries is another invitation to dive into Latin American art through his wide-ranging show. Variegated in diversity, the New York gallery promotes an expanded view of abstraction and conceptual art, building a didactic and almost museum-like room with Amazonian links to the proposals it holds in Watamisé, one of the fair's curated programs.

Travesía Cuatro, with venues both in Madrid and in Mexico's Guadalajara, advocates for the unification of space through the chromatic to give unity to a proposal as varied as it is distant that, however, and precisely because of the scene, maintains a certain conversation, bringing together diverse proposals that oscillate between the pictorial, the sculptural and even with the residual installation, and building a good visual catalog of its bet.