A Long-Term Investment: The Twenty-Year Affair of SP-Arte

When things get bad, Brazilians usually say “O Brasil não é para principiantes” (Brazil is not for beginners). Attributed to Tom Jobim, it warns that to succeed in the land of bossa nova is no easy task. Founded and piloted by the entrepreneurial vision of Fernanda Feitosa, SP—Arte has defied the musician’s warning since its founding in 2005 and now commemorates its twentieth edition housed, as always, in São Paulo’s Bienal Pavilion, a 1957 architectural modernist marvel designed by the late Oscar Niemeyer. We have interviewed the indomitable Feitosa since Newcity Brazil’s founding. This is what she has to say about the challenges she has faced and her plans for the future of one of the Southern Hemisphere’s largest art fairs, opening for guests only on Wednesday, April 3, and to the public from April 4–7.

Fernanda, has SP—Arte achieved its optimal level?

Since 2004, my vision has been to create a vibrant and dynamic stage reflecting Brazil’s rich artistic environment as well as to display cutting-edge international art and design. My wish is to continue growing and to expand the fair’s reach and impact, to promote the intersection between art, design and the public while crossing geographical and cultural borders. SP—Arte is a work-in-progress affair constantly looking for new inspiration and interaction. To think we reached our optimal level would be to limit art’s unlimited potential to renew itself and surprise us.

From your experience in organizing fairs, what are some things you’ll never again have at the fairgrounds?

We’ve had some headaches with performances, with liquid elements and blasting sound… (laughs). Jokes aside, organizing an art fair is an exercise in continuous learning. What remains from each edition is to learn how to adapt, innovate and take into account the feedback—negative and positive—of both exhibitors and visitors, that’s crucial for the event to advance.

Over the years, what have been the most memorable editions?

Each edition has its own peculiarities and highlights. Looking back, it pleases us to see that SP—Arte has been an important tool in connecting different agents within the Brazilian art system. From 2012 to 2014, the event provided a special area for the “Curatorial Laboratory” program, conceived and headed by Adriano Pedrosa [curator of the 2024 Venice Biennale], to encourage young curators to design exhibition projects. In its three editions, the lab acted as a platform for the professional qualification of young people in the field of art curatorship, selecting names such as Bernardo Mosqueira, Fernando Oliva, Marta Mestre and Tomás Toledo. Other professionals who collaborated in curated areas within the fairgrounds such as “Solo,” “Master,” “Performance” and “Open Plan” have been Alexia Tala, Cauê Alves, Rodrigo Moura and Jacopo Crivelli Visconti. We’ve had the pleasure of displaying works by exponents of contemporary art like Lynda Benglis, Ai Weiwei, Donald Judd, Mark Rothko, Jeff Koons, Anish Kapoor and Damien Hirst, to mention some international names, and have been visited by world-famous art collectors.

Do you plan to bring back SP—Foto?

Photography has always been a significant manifestation in the universe of SP—Arte. Our commitment to photography has always been clear. We make a point to celebrate and expand it, but we must take the market demands into account. In 2022, when we transformed SP—Arte into the Rotas Brasileiras [Brazilian Routes] fair, we did so because we witnessed a general yearning to dig into our roots, not necessarily in a specific media, but to the country’s artistic and creative potential.

Compared to other international art fairs, how does SP—Arte fare?

We are proud to stand among the world’s top art fairs. Our fair dialogues with events such as Art Basel [Basel, Miami Beach and Hong Kong] and Frieze [London and New York], and reflects our commitment to excellence and innovation in the arts and design.

To wrap up, what have you learned?

The importance of resilience, innovation and community. The positive impact SP—Arte has had on artists, galleries, art collectors and the public is, above all, the most gratifying.

We invited seven small- to medium-sized gallery owners of the primary and secondary markets from São Paulo and other Brazilian states, including an online New York City-based gallery with no brick-and-mortar space, to give their opinion on how SP—Arte has impacted their business ventures.

Central Galeria, São Paulo, est. 2016—Stand D13

Fernanda Resstom, founder and senior director:

“SP—Arte has been of strategic value to our gallery since our initial participation in 2017. The fair has been essential for our steady growth, to increase our visibility, to present our artworks to a larger, diverse public and to forge connections with collectors, curators and the artistic community.”

Gaby Indio da Costa Arte Contemporânea, Rio de Janeiro, est. 2017—Stand E20

Gaby Indio da Costa, founder and director:

“The fair has had a major role in promoting Brazilian art both domestically and internationally, connecting art insiders and professionals interested in getting to know Brazilian art. The event has been responsible for the development of the local art market promoting its participants as well as creating cultural and commercial exchanges with different parts of the world. Not only is it responsible for boosting businesses, but it also enriches the artistic experience, stimulating dialogue and the appreciation of contemporary art. The administration makes a point to talk to the gallerists to understand our needs and improve with each new edition.”

Gisela Projects, New York, est. 2021—Stand E21

Gisela Gueiros, founder and director:

“This is the second time we have participated. The 2023 edition was very positive for the project! We don’t have a physical space, so SP—Arte is where we get in touch with our most important public and active collectors. As a whole, it is very professional, we are pleased, except for the parking lot, car access and lack of organization to catch Uber and taxi.”

Luciana Caravello Galeria de Arte Contemporânea, São Paulo, est. 2011—Stand G15

Luciana Caravello, founder and director:

Founded in 2011 in Rio, the gallery closed its location in Rio and reopened in 2020 in São Paulo. “We’ve been at SP—Arte since day one. The fair has been fundamental for our growth, it is especially important for galleries from other states. When my gallery was in Rio, it was through the fair that I was able to build a relationship with art collectors, institutions and other galleries from outside of Rio. I only moved my business to São Paulo because, having been present in all the editions, I felt confident I was beginning to make a name in my new town.”

MaPa, São Paulo, est. 2015—Stand C6

Marcelo Pallotta, founder:

“As a primary market gallery, SP—Arte has inserted us in the market and given us visibility with curators, collectors, institutions, the media, who get to know our program. While SP—Foto was still going on, we took part in some of its editions because it was a better-priced fair. SP—Arte works fine for our format, however, now at its present size, the fair would be more efficient if it reserved two days for collectors-only instead of one.”

Marli Matsumoto Arte Contemporânea & Projeto Venus, São Paulo, est. 2021—Stand D20

Marli Matsumoto, director:

“SP—Arte has become a high-quality seal. Our concentrated effort during the fair’s duration reflects positively all year round. For a gallery like ours, representing contemporary, avant-garde and conceptual works, it is vital to have the works displayed for a wider range of public from different segments, including art professionals, curators and art critics to important collectors and museums. I’ve been dealing in the contemporary art market for thirty years, it is clear to see that SP—Arte brought new dynamics to the local market. Due to its present large size, I believe SP—Arte’s area dedicated to contemporary art on the second floor would gain if it was divided into more specific sectors. Visitors and galleries would benefit with a more focused, sectorized distribution.”

Paulo Darzé Galeria, Salvador, Bahia, est. 1983—Stand C02

Thais Darzé, partner and director:

“In general, art fairs are medium to long-term investments. Our participation in twenty editions has brought us the possibility to build a market between artists from Bahia and collectors from other Brazilian states as well as from abroad. For us, SP—Arte means good business, expanding our network and making contact with private and public collections.”

SP–Arte
Open to guests only April 3, 2024
Open to the public April 4 to 7, 2024
Bienal Pavilion, São Paulo
Ibirapuera Park, gate 3