Editorial
Interview
50 Years of Galeria Luisa Strina
Gabriela Valdanha
26 Nov 2024, 11:57 am
In December, Galeria Luisa Strina celebrates its 50th anniversary. To mark the occasion, we interviewed the 81-year-old gallerist after whom the gallery is named. Between memories and plans, she talks to us about Brazilian art abroad, the changes brought by the internet, the professionalization of the market, and the publication she is preparing to commemorate the anniversary. “I would say that opening a gallery is an act of courage and passion”, she states.
Above: Luisa Strina in 1993 (Photo: personal collection)
Luisa Strina and Antonio Dias in 1990 (Photo: personal collection)
The trajectory of your gallery is deeply intertwined with the history of artists essential to Brazilian art. Which artists have left a mark on you? Your story is also intertwined with the art market. What moments were the most impactful?
I can say that the gallery’s journey is inseparable from the history of fundamental artists for contemporary Brazilian art. Antonio Dias, Tunga, and Cildo Meireles, for example, were artists who not only marked my professional life but also taught me a great deal about art.
Antonio Dias was one of the first artists we represented, and with him, I learned about the importance of a work being both critical and poetic. His ability to create profound reflections on political and existential issues always impressed me. Tunga was an inventive genius, an artist whose work transcends materiality. He knew like no one else how to create a complete and visceral experience. Representing Tunga meant always confronting the unknown and the unexpected, and I think he challenged the gallery itself to evolve and reinvent itself. Cildo has been a great partner and friend throughout these fifty years. His work possesses a unique precision and conceptual rigor, and I believe his work helped elevate Brazilian art to a new level of complexity and global recognition.
Our first participation in Art Basel in 1992 was a milestone not only for the gallery but also for the recognition of Brazilian art abroad. An exhibition I would mention is This Is Not a Void, one of the most challenging we organized. This project by curator Jens Hoffmann represents an important moment in the gallery’s history, precisely because of its boldness and how it expanded the boundaries of how we perceive and experience art. At the time, in 2007, Hoffmann proposed an exhibition without objects in an empty space, bringing together works by 37 international artists to reflect on the idea of emptiness, dematerialization, and immateriality.
Installation view of "This is not a void", in 2007, at Luisa Strina Gallery (Photo: courtesy of Luisa Strina Gallery)
Cildo Meireles and Luisa Strina in 2024 (Photo: Denise Andrade)
Throughout your journey, many changes have occurred. The internet is certainly one of the main ones. How has it impacted your way of working? What other change would you highlight?
The internet has undoubtedly transformed the way we work with art, expanding the possibilities for reach and facilitating direct communication with a global audience. When I started, everything was done in person: travel, meetings, letters, and phone calls to maintain contacts and cultivate a network of artists and collectors. Today, with the internet, we have an immediate connection to the world, allowing us to share our artists’ work much more swiftly and accessibly. However, this virtual proximity also requires attention to maintain a more human and profound art experience, which is what truly impacts people.
Another significant change I would highlight is the professionalization of the art market in Brazil and Latin America. The scene has evolved greatly over the past few decades, and today we have a structure that values the artist, the collector, and the audience, with fairs, museums, biennials, and cultural centers that are on par with those anywhere in the world. It is an evolution I have always advocated for, and now I see it as a fundamental achievement for all of us.
Tunga in 1994 (Photo: personal collection)
What are your visions and plans for Galeria Luisa Strina in the next 50 years?
To continue strengthening Brazilian and Latin American art, not only in Brazil but in dialogue with the world. The gallery’s commitment has always been to support artists whose work has social, political, and cultural impact and relevance, and I believe that this mission remains essential. I want to see the gallery as an increasingly plural and innovative platform that helps reimagine the role of art in society.
Do you have any pending achievements for the gallery?
Although we have already carved out a significant space for Brazilian art abroad, I believe there is still much to be done to ensure that our artists are present in key global discussions, not just through exhibitions but also as influential agents in biennials, museums, and international collections.
I also want to strengthen our editorial and documentary initiatives. We are organizing a commemorative publication to mark the gallery’s 50th anniversary. This book will not only recount our journey but will also include critical essays and documentation of significant moments, providing an overview of the impact of the gallery and the artists we represent. It is a way to revisit and share our legacy while looking to the future, celebrating and reaffirming our commitment to Brazilian and Latin American art.
Luisa Strina in the 1980s (Photo: personal collection)
If summarize your 50-year journey in one sentence or feeling, what would it be?
For me, it is a journey of continuous learning and building a legacy that reflects the spirit of the artists and the times we live in.
What would you say to someone who plans to open a gallery?
I would say that opening a gallery is an act of courage and passion. It is essential to have a clear vision and a deep respect for the artists and the art you wish to represent. Additionally, it is crucial to build strong relationships with collectors, critics, and the audience. Always be open to learning and adapting to the changes in the market, and don’t be afraid to innovate. The most important thing is to stay true to your essence and believe in the transformative power of art.
Gabriela Valdanha is the communications coordinator at SP–Arte. A journalist with a specialization in sociology and a master’s candidate in cultural studies at USP, she has been working in the cultural sector since 2012, with experience at Flip, Folha de S.Paulo, Masp, and others.
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