Meeting between Architecture and Art result in timeless environments

Iconic and timeless, architectural projects are a milestone for events and become environments of permanence and experience.

The success of a big event can be linked to the repertoire of those who organize it, but it also depends on many other factors, including, the place where it will be held. Masterfully large events like concerts by international bands, for example, require places that, obviously, behave the fans with the minimum of security. The same goes for other events., even the smallest and for specific audiences. And that's where architecture comes in.. Decide on suitable spaces, coherent and, not less important, beautiful – even better if it has a 'pinch' of historical relevance –, is condition sine qua non for the majority, but, mainly, to the world of fine arts. It is in this area that some of the main art fairs appropriate places whose architecture, mostly emblematic, offers yet another aesthetic provocation to its visitors, being a delight to eyes and soul.

the colors also stand out in the environment, must stand out, and thank, the great masters of architecture who presented humanity with their beautiful and functional projects. speaking of beautiful, It is worth quoting a passage from the bookArchitecture of Happiness” – editor Rocco/2016, by Alain de Botton who says that design refers to memories and approximations, but what does it take, also, the perception of memories about facts or, even, awakens sensations. For him, “To say that a work of architecture or design is beautiful is to recognize it as an interpretation of fundamental values ​​for our development., a transubstantiation of our individual ideals into a material medium”.

E, based on the beautiful and functional, we can relativize the perfect marriage between the architecture of the Ciccillo Matarazzo pavilion, more popularly known as the Bienal Pavilion, and the annual SP-Arte visual arts fair. Located inside one of the largest public parks in São Paulo, the building signed by the Brazilian architectural giant, Oscar Niemeyer (1907-2012), houses the arts fair since its first edition in 2005 and is, as well as a landmark in the history of the country's modernism, a tasteful place, elegance and, Above all, essential, as the creator and director of the fair says, Fernanda Feitosa. “Since you were born, SP-Arte chose the Ciccillo Matarazzo Pavilion to host its events. Fundamental in the history of Brazilian modernism, the pavilion is a masterpiece by Niemeyer inaugurated in 1957.” At the same time, she explains that experiencing new spaces is something she doesn't give up. "His face, which hosted SP-Arte in 2021 and where our next fair 'Rotas Brasileiras' takes place, In August (2022), is an industrial warehouse built in the years 1960 which housed a large metallurgical. Today, it serves as a hub for the creative economy in this new axis of the city that has been forming around Vila Leopoldina: an extension of Avenida Faria Lima that extends along the entire right bank of the Pinheiros River to Ceagesp, in an area that concentrates film production companies and startups.”

 

 

The Bienal Pavilion hosted the 18th edition of the event, the last one held in 6 a 10 of April, 133 art and design galleries and received around 25 One thousand people, in addition to the national and international press.

It's not just football

For the first time, the art fair ArPA, an art fair developed for galleries in Brazil, with the objective of attracting the specialized public of the five regions of the country, as well as to train new art collectors and connoisseurs, happened from 1 a 5 of June at the Pacaembu Pavilion, space located in the Pacaembu Complex – one of the largest football stadiums in the city –, with entrance through Charles Miller Square and has, among its central objectives, expand national art through a new experience and bring together collectors from all over the country, generating new opportunities for galleries and enabling connections with the international scene, according to the creator, Camilla Barella. “ArPa was born from a direct dialogue with the galleries, and understanding your needs and demands is our goal.” The fair received more than 45 exhibitors – from the primary and secondary market -, and featured booths for young galleries, but also of artists already established in the arts circuit who were able to sell their works in the space of 4 mil m².

To facilitate the public's enjoyment and create more detailed clippings for each segment covered by the fair, ArPa subdivided the event into a few sections. The Main sectors, UNI and Satellite took place at the Pavilion. The Art in the Field,with free entry, was located at Charles Miller Square, before the entrance of the Pacaembu Complex. The Prisma program was created as a way to expand the limits of the fair and spread knowledge in other spaces and institutions in the city.. It is worth mentioning the participation of important names in the cultural scene of art galleries that marked the first edition of the event in the Main sector, like Almeida & Dale Art Gallery (Sao Paulo, SP - Brazil); Raquel Arnaud Gallery (Sao Paulo, SP - Brazil); Art Scholarship Gallery (Sao Paulo, SP - Brazil; Porto Alegre, RS - Brazil); Triangle House (Sao Paulo); AND Galeria (Sao Paulo, SP - Brazil); gomide & Co (Sao Paulo, SP - Brazil); Mendes Wood DM (Sao Paulo, Brazil; Brussels, Belgium; New York, USA); Marília Razuk Gallery (Sao Paulo, SP - Brazil); Simões of Assisi (Sao Paulo, SP - Brazil; Curitiba, PR - Brazil); Red Gallery (Sao Paulo, SP - Brazil); VERVE Gallery (Sao Paulo, SP - Brazil); Gallery Ybakatu (Curitiba, PR - Brazil); Zipper Galeria (Sao Paulo, SP - Brazil), among many others.

"O Pacaembu is an ArPa partner, as it is part of the concession project and the resumption of this space with its original pillars, of culture and leisure. The current structure will work until the end of 2023, when the new Pacaembu will gain a permanent space for underground events. In this first edition of ArPa, in addition to the use of the Pacaembu Pavilion, We also welcome the public through an open-air exhibition, with sculptures and installations, in Charles Miller Square”, reforça Camilla Barella. the place is, also, one of the 'darling' places of paulistanos. To 80 years, the Pacaembu, which in tupi-guarani means 'wetlands', – originally a resting place for the Indians on their travels along a stream covered with vegetation – has in its style Art Deco the signature of Ramos de Azevedo and was listed by CONDEPHAAT - Council for the Defense of Historical Heritage, Archaeological, Artistic and Tourist, responsible for research, identification, protection and appreciation of the cultural heritage of São Paulo – in 1998. It is worth mentioning that at the time of its inauguration as Municipal Stadium, considered the largest and most modern stadium in South America, losing his post ten years later to the Maracanã stadium, in Rio de Janeiro.

Ares carioca in Sampa

last March, the capital of São Paulo received the first edition of ArtSampa, art fair that occupied the Lucas Nogueira Garcez pavilion, better known as OCA, also by Oscar Niemeyer, between the days 16 a 20. The event brought together approx. 50 exhibitors, between galleries and institutions, in yet another symbolic project of the city of São Paulo. The building is an exhibition space with more than 10,000 m² inside the Ibirapuera Park and was designed in 1951 in order to compose the architectural complex of the park in celebration of the 4th centenary of the city of São Paulo.

 

 

 

The event is held by the same members of ArtRio, Brenda Valanci e Dream Factory. “ArtSampa brought to São Paulo the values ​​and goals that we built along our journey. we want, increasingly, stimulate a serious and ethical market for the art segment, internationally recognized for its best practices. Arriving in São Paulo in the year of the centenary of the modernist movement is very emblematic. We are committed to valuing Brazilian art, the stimulation of new artists and the recognition of art as a form of expression of society and its culture”, Brenda Valansi scores, president of ArtRio.

E, piggybacking on Fernanda Feitosa's speech, It can be said that “this bridge that architecture helps us to draw between a heritage of the modern past and a poignant future, pulsating and very creative for Brazil is what interests us the most”, art and architecture continue to intertwine, creating unique opportunities for its visitors and opening the horizon for all who experience, enter and can experience this universe of beauty as a “splendor of order”, as Aristotle said (384 a.C.-322 a.C), one of the great thinkers of antiquity, or as Plato said (428 a.C.-347 a.C), another important thinker “the beautiful is the good, the truth. It's perfection.”

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