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In the contemporary art world right now, works from emerging artists have, similarly to Memphis, strong references to pop and street culture and are catching the attention of the youngest generations of collectors. A lot of bold and bright Neon Art is pervading galleries and museums around the world right now, but alongside the neon trend is another vibrant and energetic trend, the revival of the Memphis style. The Memphis Group was an Italian design and architecture group active from 1980 to 1987. The group designed postmodern furniture, lighting, fabrics, carpets, ceramics, glass and metal objects in bold and vibrant colours in highly geometric shapes and has inspired many contemporary artists. In the contemporary art world right now, works from emerging artists have, similarly to Memphis, strong references to pop and street culture and are catching the attention of the youngest generations of collectors. And the fact that the art world and its players, from makers to sellers and to buyers, have radically moved into the digitalisation of their creations and modes of selling and buying means that more people have begun to realise the benefit of art as not just an element of adornment for interior and exterior spaces but also as a viable form of investment and to highlight important issues the world is dealing with. A relaxed chat with the creators and collaborators of the project "Brasil de Nações". Who they are, what their careers and contributions to Brazilian culture in Salamanca have been like... A bit of art, music and literature in an event in which Claudia Albuquerque, Nelson Caron, Alex Criado, Juan Figueroa and Kalinca Costa Soderlund, THE FOUNDER OF ARRIERE-GARDE ART, will participate. Remember the ubiquitous gleam of liquid metal chrometypes and their stylistic rebellion against the pared-back, purist aesthetic of minimalism? Then came the surge of chiselled fonts that hinted at a yearning for imperfect, handcrafted humanism. The recent rise (and critique) of Corporate Memphis – that intended to inject colour and personality into flat 2D illustrations through spindly-armed characters who are always skipping, dancing or gardening – is also indicative of shifts in the creative industry that outline the changing sentiments of our times. The movement is so influential now that even the world acclaimed and trend setting TRIENNALE DI MILANO in Italy, from 18 May to 12 June 2022 , has presented ‘Memphis Again’, a direct exhibition curated by Christoph Radl, graphic and creative in the field of design and fashion, and art director. Exhibited in the evocative space of the Curva della Triennale, this exhibition is also an example of the high degree of transdisciplinary and hybridity of the creative world, as the space merged over 200 objects and furniture by Memphis with fashion catwalks and eighties style clubbing. Of course, trends in art and design are more consumer-driven in contrast to art movements that are influenced by ideologies and political narratives; yet the Memphis revival is all encompassing and is pollinating all visual sectors in 2022. This not only in the Western world, but also in the geographical areas where the art market has boomed in the last decade or so: Asia and the Middle East. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

We can bring the outside world in with art. Floral compositions can add a cheerful touch, while views of familiar places or imaginary lands can create a calming environment. Nature and landscapes have been timeless subjects of artworks and are very popular this year. While confined, we have also become more and more aware of the importance of creating a pleasant space at home, and the soothing effect of being immersed in nature. We can bring the outside world in with art. Floral compositions can add a cheerful touch, while views of familiar places or imaginary lands can create a calming environment. With irresistible and unexpected compositions of human figures juxtaposed with flora, floral figures have become a prevalent subject for artists working across mediums. Surrealist art aficionados will appreciate the dreamlike quality of this trend, which has undoubtedly taken off for its reinvention of time-honoured subjects: the human form and nature. Inherently poetic and evocative of nature, floral heads, silhouettes, and bodies intertwined with botanicals can infuse your space with a timeless sense of romanticism. This art trend expresses a desire to get back to nature and exudes feelings of harmony, fantasy, and whimsy, from Marlies Plank’s cheeky photography to Karenina Fabrizzi’s elegant silhouettes. The trend is so big that Juried Art Competitions revolving around the trend are mushrooming, such as the “5th LANDSCAPE": where all visual artists from around the world are invited to submit their best artworks on the theme for inclusion in the exhibition. All types of art styles were accepted, including both 2D and 3D works, painting, sculpture, digital, printmaking, fibre, photography, graphic, mixed media, as well as experimental and installation works. The theme of this international juried art competition is LANDSCAPE. Applying artist were free to apply their own interpretation in representing the overall theme. Artists could rely on the broadest meaning of the subject matter, so it was perfectly fine to include scenes of cityscapes, water habitats, etc. Additionally, natural and artificial subject matters, as well as representational, surreal, and abstract concepts, in any media, were considered for selection. Exhibition of selected works runs from 17th to 31st July 2022. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

With the latest movement for social equality and the emancipation of minorities, it is now the time for Black Art to shine: Being it produced in Africa, USA, Europe, Latin America or the UK…and anywhere in which the Black minority is either a conspicuous or a relevant part of the population. Digital technology allows contemporary Black artists or artwork focussing on Black culture from anywhere in the Planet to reach new audiences at a global level. For centuries Europe was the centre of innovation, followed by America and Asia. Latin American art went through a golden age in the 1990 and early 2000s, but especially in London, it caught less attention in terms of Museum exhibitions and collections from the late 2000s onward. With Black art coming to the fore, Latin American art production with Black culture as central theme is going through a new momentum. With the latest movement for social equality and the emancipation of minorities, it is now the time for Black Art to shine: Being it produced in Africa, USA, Europe, Latin America or the UK…and anywhere in which the Black minority is either a conspicuous or a relevant part of the population. Digital technology allows contemporary Black artists or artwork focussing on Black culture from anywhere in the Planet to reach new audiences at a global level. With new and renovated museums, galleries, and special events happening around the world, the time is more than right to renew the pastime of taking in-depth looks at the vast number of Black, African art and Afro art available to us. And in 2022, museums outside the UK have stand out in terms of organising incredibly interesting exhibitions focussing on Black Art…here are the highlights! A relaxed chat with the creators and collaborators of the project "Brasil de Nações". Who they are, what their careers and contributions to Brazilian culture in Salamanca have been like... A bit of art, music and literature in an event in which Kalinca Costa Soderlund, the Founder of Arriere-Garde, Claudia Albuquerque the Head of Brasil de Nações, Nelson Caron, Alex Criado, and Juan Figueroa will participate. Faith Ringgold: American People – New Museum The New Museum in New York has a longstanding history with Ringgold and is taking advantage of it. The prestigious exhibition hosted up to June 2022 the largest retrospective of Faith Ringgold’s work, incorporating a range of her iconic artworks, including soft sculptures and her large-scale, figurative murals which delineate racial and gender divisions in 1960s USA with an astute poignancy. The spectrum of Ringgold’s quilt work on display culminated in an autobiographical depiction of historical events experienced by the artist. This included the Harlem Renaissance, and her experiences as an African-American woman, mother and artist, living through the interlacing societal phases of emancipation and protest against socio-political hierarchies. The exhibition collated a diverse range of scholarly input, taking a retrospective look at sources readily available and newly created contributions, by a range of curators and writers from across the generations, including Lucy Lippard, LeRonn Books and Tschabalala Self. Jean-Michel Basquiat at The Broad, Los Angeles One of the world’s leading collections of post-war and contemporary art, The Broad is home to an unparalleled collection of pieces by Jean-Michel Basquiat and all 13 of them are were on display until April 2022, some for the first time ever, in an expansive installation of the late artist’s work. While digital tours allowed virtual access to the works in the throes of the Covid-19 pandemic, the museum’s reopening in May 2021 means the extremely valuable and important artwork by one of America’s prominent Black artists can be taken in without a screen. “Wicker” (1984) is one of three works by Basquiat that are on view for the first time at The Broad. Basquiat’s art is both a reflection on the legacy of slavery and colonialism and a celebration of the histories of Black culture and everyday traditions of Black life. Black Cowboys: An American Story at The Witte Museum, San Antonio The oldest museum in Texas, Witte Museum, in early 2022, was the host to “Black Cowboys: An American Story”, an exhibition that explores the little-known history of Black people in the Wild West and provides a view of legendary cowboys and a more diverse portrait of the American West. The exhibition transported visitors through time to meet real Black cowboys and examine their significant impact on American History, through artefacts, photographs and documents depicting the work and skills of Black cowboys. The role of Black cowboys evolved over the 20th century as they used the skills they learned on the trail to own their own ranches, serve as lawmen, ride in rodeos, become singers and artists. Today, the lives and legacies of Black cowboys have inspired new generations to explore the past through music, film, fashion and design. Discover more about our selection of relevant and innovative art exhibitions around the world on our Twitter Page: A RADAR OF THE BEST OF THE BEST IN THE INSTITUTIONAL REALM AND A PROOF OF OUR OPINION MAKING POTENTIAL… Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Figurative painting has witnessed a resurgence in recent years, and 2022 sees the full consolidation of this historical way of expressing reality through art. . Across these new trends in art, there is a persistent flair for the unexpected, be it a punch of neon, a surreal floral head, a whimsical animal portrait, or a wandering astronaut. In 2022, artists and collectors alike are looking for ways to enliven their spaces and create a window into the extraordinary, however big or small. And, as a result, extraordinary figurative painting is coming back with a massive focus on the body, the human figure and living forms. The long periods spent confined at home and in isolation over the past two years, have certainly influenced this new trend. People now have an intense desire to see other people, to feel emotionally connected to them. Hence the new interest in portraits and figures in art. Figurative painting has witnessed a resurgence in recent years, and 2022 sees the full consolidation of this historical way of expressing reality through art. Watch now the video that talks about the celebration of the Brazilian Modern Art Week, which was held at the Municipal Theatre of São Paulo in February 1922. Follow this seminar given by Kalinca Costa Söderlund, the Founder of Arriere-Garde, and Anaïs-Karenin, one of Arriere-Garde's associated artists, on our Youtube channel. 2022 brings some major exhibitions of well-established names in figurative painting to institutions around the world. Alex Katz, known for his distinctive style of portraiture, has two upcoming retrospectives: one is set to open at the Guggenheim in New York this year, and the other, the artist’s first-ever retrospective in Spain, will open at Museo Nacional Thyssen-Bornemisza in Madrid in June. Turner Prize winning artist and cultural activist Lubaina Himid CBE RA, who is internationally recognized for her figurative paintings, is also currently featured in a large-scale exhibition at Tate Modern. The first comprehensive exhibition in Germany dedicated to the work of Lynette Yiadom-Boakye is now on at Kunstsammlung Nordrhein-Westfalen, featuring the artist’s depictions of Black men and women in oil, charcoal and pastel pencil. And Jenny Saville’s paintings and life drawings are currently being exhibited in institutions across Florence. Just to name a few. Young and emerging artists are also exploring the body in painting to delve into subjects like identity, cultural history, personal narratives and more. Some such works can be seen at Lawrie Shabibi gallery in Dubai, which is currently presenting a group exhibition of contemporary women artists using figuration as a central motif – through painting as well as other media. Our Brazilian artist, Luiz Pasqualini, has a long career dedicated to figurative painting, and uses classic rendering techniques inspired by European Masters of the 18th and 19th Centuries to depict contemporary aspects of the lifestyle, mentality, and culture in contemporary Brazil – often leading to a political critique of consumerism in a country of the developing world. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Looking at textile as an artistic tool capable of provoking change and reacting to political and social conditions as “an experimental medium attentive to the new ecologies of production, as a questioner of borders and limits or their nonexistence”. Contemporary artists are not only making art in dialog with nature, but also with the digital – and at times at the intersection of both. Scarlett Yang, for example, creates “living garments” from algae extracts and silk cocoon proteins and uses virtual reality to simulate the process of their decay. Working with organic and recycled wool, Andrea Garcia Vasquez is currently producing a series of rugs, titled “Shapes of Destruction” – a project funded by Kulturamt Leipzig and the Kulturstiftung der Freistaates Sachsen. The design of the tufted works references Google Earth screenshots from the deforestation of the Amazon – 10% of proceeds from sales are also donated to Amazon Watch. A current artist in residence at The Studio Museum in Harlem, Qualeasha Wood creates tufting and tapestries that draw on references from the internet and digital media in explorations of Black femininity. With their irregular edges and shapes, her tufting take on organic forms, moving from two-dimensional screen to three-dimensional body. Kalinca Costa Söderlund , the Founder of Arriere-Garde, nterviews David Magila, a São Paulo-based artist with decades of research and production based on Brazilian architecture and its complexities. What these works and artists underline are some of the ways textile art can approach urgent topics of the present. This is something that is also being explored at the Contextile 2022 - Contemporary Textile Art Biennial in Portugal, under the theme of “Re-Make” – looking at textile as an artistic tool capable of provoking change and reacting to political and social conditions as “an experimental medium attentive to the new ecologies of production, as a questioner of borders and limits or their nonexistence”. Join Arriere-Garde and follow our exclusive content on our social media. An exhibition, “Experimental Fashion and Fiber Art 2022” is also being planned at CICA Museum in South Korea later this year. And, Textile Culture Net, an international network founded in 2020 in response to the pandemic, has been using Instagram to showcase diverse perspectives on textile art and is now curating online exhibitions with various partners around the world. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

It is undeniable that NFTs made a big impact on the art world in 2021 and is continuing to do so in 2022. Mainstream artists are increasingly adopting this medium, boasting record-breaking sales and announcements of new and exciting digital projects. An artwork called The Merge, created by the renowned artist who goes by the pseudonym Pak, was sold on NFT marketplace Nifty Gateway in 2021 for a record sum of USD 91.8 million — the most expensive NFT ever sold as an artwork. The same year, artist Beeple sold a piece Everydays – The First 5000 Days for a whopping USD 69.3 million, while REPLICATOR created by Canadian artist Mad Dog Jones, a piece that replicates itself and produces a new NFT every 28 days, was sold for USD 4.1 million. Crypto art and NFTs have become invaluable assets. It is undeniable that NFTs made a big impact on the art world in 2021 and is continuing to do so in 2022. But while they seem to be everywhere right now, museums and cultural institutions have been slower to pick up on the trend. And understandably so. There are a number of reasons for this – including questions of copyright, conservation, and authorship. In the meantime, much has been written about museums and NFTs – from how they might find common ground to whether museums should get into NFTs in the first place. Of course, that is not to say that museums have not been involved with NFTs and crypto art at all. Even a traditional institution like the British Museum in London has partnered with the start-up LaCollection.io in 2020 to sell NFTs of Katsushika Hokusai’s works and it is still selling this type of innovative art. And other museums and institutions around the world have hosted panel discussions and talks to address essential questions around NFTs. With the rise in the number of people using digital currencies as a means of investment or a fundraising method to support themselves or generate donations, the popularity of cryptocurrency and NFTs is not going to subside anytime soon. 2021 has undoubtedly entered art history as the year of NFT art, and propelled the latter into 2022 with full force. Some experts anticipated a cyclic crash of the NFT market for 2022, and Bill Gates has just made some damaging statements last month, claiming that ‘NFTs are a sham’. See: https://edition.cnn.com/2022/06/15/tech/bill-gates-crypto-nfts-comments/index.html Yet many interpret last year’s NFT storm as just the beginning and think that the trend will flourish beyond 2022. This forecast might be the reason why major auction houses have been embracing this highly speculative market. An era of less speculation and more stability may be in the horizon, empowered by an emerging trend of deeper crossovers between the tech-savvy NFT community and the traditional art market. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Creative communities have adapted to immersive virtual events and exhibitions, enabling artists to reach global audiences from the comfort of their homes. The global isolation and the lack of mobility brought about by almost 2 years of Covid-19 crisis has resulted in the most significant paradigmatic shift in the art world over the last 150 years or so; no doubt. Creative communities have adapted to immersive virtual events and exhibitions, enabling artists to reach global audiences from the comfort of their homes. They have finally fully understood that online sales platforms have neither geographical nor cultural frontiers, and artists are increasingly benefiting from serious online galleries and marketplaces that allow them to finally reach their career goals, financial stability and the long-awaited international recognition. Galleries, museums, fashion houses and even massive art festivals around the world are making use of various platforms in the metaverse to capture the spirit, culture and qualities of a real-life event and emulate them in an interactive virtual reality (VR) space. There is so much room for innovation and for thinking of new ways of showcasing, curating and thinking of art in the virtual space…and at Arrìere-Garde we truly believe in the metaverse potential to revolutionise the art market as much as it is revolutionising every single aspect of retail, from luxury to mainstream. Watch now our Youtube content about Brazilian art, with special participation of Kalinca Costa Soderlund and Henrique Fagundes. The lecture gives an overview of Brazilian art and culture of the last 100 years, focusing on segments of Brazilian art history especially committed to the emancipation of Brazilian cultural production in the international arena, and against the stigmas of colonialism and cultural neocolonialism in Latin America. Galleries, museums, fashion houses and even massive art festivals around the world are making use of various platforms in the metaverse to capture the spirit, culture and qualities of a real-life event and emulate them in an interactive virtual reality (VR) space. There is so much room for innovation and for thinking of new ways of showcasing, curating and thinking of art in the virtual space…and at Arrìere-Garde we truly believe in the metaverse potential to revolutionise the art market as much as it is revolutionising every single aspect of retail, from luxury to mainstream. Given the economic uncertainty induced by the COVID-19 pandemic and the looming global crisis in the second half of 2022, collectors are starting to view art, especially digital art, as a value-preserving asset meant to diversify their investment portfolios and mitigate unpredictable times. They have begun to enjoy the immediate reach to a wide range of artworks from all over the world, the convenience of purchasing art with a few taps on a computer or smart phone screen, and the price transparency inherent to online sales. Hence, they no longer feel the need of travelling to an art gallery or flying internationally to attend to an art fair where sales representatives may present them with ambiguous or unclear financial offers when interested in purchasing an artwork. Additionally, with the absence of geographical boundaries that the process of art moving online is offering, art buyers are enjoying new ways of conversation and connection with the artworld. As well as they are increasingly cherishing the ‘feeling of a community’ within the global art world that the digitalisation of the art market is capable to offer. At Arrìere-Garde, we know that artists, galleries, museums, art lovers and art collectors have been recurring to new strategies and behavioural patterns and purchasing solutions to cope with the impact of the global health crisis on the art system; and they seem to still adopt and enjoy these strategies and behaviours in ways which are consolidating them in the long run. In ways which will change the art system forever! Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Art lovers tend to be ‘Metroculturals, that is: prosperous liberal urbanite groups, who choose city lifestyles for the broad cultural opportunities they offer, who represent good prospects for emerging artists and new, innovative artworks, and are highly responsive to e-commerce; likely to take up digital offers and to make recommendations to friends. People chose city lifestyle for the broad cultural opportunity it affords. And urban lifestyle most certainly is the ideal context in which to explore and find the preferred artform or style. This is because much of the art initiatives happen in city centres, particularly in big metropolitan areas like London or New York. Art lovers tend to be ‘Metroculturals, that is: prosperous liberal urbanite groups, who choose city lifestyles for the broad cultural opportunities they offer, who represent good prospects for emerging artists and new, innovative artworks, and are highly responsive to e-commerce; likely to take up digital offers and to make recommendations to friends. Hence, many Metroculturals have no problem with buying artworks from emerging artists seen online and by tapping their smartphone or computer screens a few times. A new session in the series of interviews in which the art historian and critic Kalinca Costa Söderlund delves into contemporary Brazilian artistic research and production with the aim of demonstrating how art reflects and explores the most urgent issues of a country facing great challenges. On this occasion it will be the turn of Juliana Freire, contemporary Brazilian artist and activist of 'Cosmic Activism' who, together with Kalinca Costa Söderlund, will address two of the artist's pilgrimages as a source of production, and as a symbolic attempt to transmute the mind, body and spirit towards the native 'other'. Large urban centres are also a redoubt to the ‘Experience Seeker’: the type of collectors which represent the most significant part of urban art audiences, who are highly active, diverse, social and ambitious singles and young couples engaging with art on a regular basis. Millennials and Gen Z, in the UK, make 48% of this group. It is therefore not surprising that the metropolis offers to artists the best opportunity to make it, hence it attracts national and international talents looking for the fulfilment of their ambitions. Given the type of art consumers that large cities attract, they offer the highest engagement for both art makers and art businesses. In fact, for the Metroculturals and the Experience Seekers, art is very important to their lifestyle and identity, they are the highest donors for the arts, and recurrently make recommendations related to their artist choices to friends. Did you like our content? Become a subscriber on our site and get notified when a post goes live

Millennials and Gen-Z tend to invest in artworks and artists to fulfil philanthropic aspirations, and they even bought art at major global art fairs over the Covid-19 pandemic merely to support artists during the crisis. We are experiencing an increasing growth of ethical patterns among collectors. We see that art lovers and buyers are now more engaged with big relevant causes and are interested in art practices and works that reflect their own engagement and related concerns. For instance, the youngest collectors take it as a mission to support and somehow to fund the practice of the cultural producers they love. And believe it or not, sometimes they resell artworks from their favourite artists to help their beloved art makers out by sharing the profit. Follow more video content on our youtube channel Art historian and critic Dr. Kalinca Costa Söderlund, the Founder of Arriere-Garde delves into contemporary Brazilian artistic research and production in an interview with artist Marcelo Amorim, entitled "Fighting power structures in Brazil by drawing attention to the entrenched mechanism of perpetuation of the hegemonic". The event is hosted by the Centre for Brazilian Studies (CEB) at the University of Salamanca, in collaboration with Brasil de Nações, a Spanish Cultural Production initiative, of which Kalinca is a member. Millennials and Gen-Z tend to invest in artworks and artists to fulfil philanthropic aspirations, and they even bought art at major global art fairs over the Covid-19 pandemic merely to support artists during the crisis. These generations also show a deep distrust of corporations and would rather rely on the opinion of influencers on social media to guide their decision-making in many domains. We also see an exponential growth of collectors with strong orientation toward preservation, ecology and social issues who transform their homes in sustainable housing solutions in which even interiors objects and artworks are committed to the cause. These truly engaged collectors require galleries to rethink ideas of transparency, flexibility, diversity, and sustainability. And they are turned off by some ingrained practices of the art market, such as elitism and exclusivity (think of the velvet rope outside an exhibition opening). All in all, they prefer to avoid pretentious vernissages and blockbuster museum exhibitions, and love art initiatives and institutions which address pressing matters such as the global urgency of providing a better future to humanity and to the Planet. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

About 2 years since the onset of the Covid-19 pandemic, the art market is seeing a steady recovery with millennial buyers being a massive contribution to this as they have spent the most in 2021. At Arriere-Garde we know that Gen-X consumers are currently among the online art market’s biggest spenders, who are more frequently motivated by status and a brand or artist’s mass relevance. And more than half of Gen-X buyers are females. Yes, women are taking the lead in the field of art collecting....hurray!! About 2 years since the onset of the Covid-19 pandemic, the art market is seeing a steady recovery with millennial buyers being a massive contribution to this as they have spent the most in 2021. Never we have seen so many young people interested in fine art, and actively collecting and treasuring it. Simply amazing! Watch our Content on YouTube channel now On the occasion of the celebration of the centenary of the Semana de Arte Moderna, which took place at the Theatro Municipal de São Paulo in February 1922, the Centro de Estudios Brasileños of the University of Salamanca, in collaboration with Brasil de Nações, has offered this seminar, given by Kalinca Costa Söderlund, the Founder of ARRIERE-GARDE, and by Brazilian artist Anaïs-Karenin. The speakers approached the Brazilian Modern Art Week of 1922 from two different perspectives: Kalinca proposed an art historical revision of the events and movements following this landmark of Brazilian modernism; Whereas Anaïs-Karenin discussed the take of the contemporary Brazilian art scene on the significance and agency of this period. Although they have similar patterns to Boomers when it comes to linking art purchase to notoriety and prestige, Gen-X differs from the previous generation for being more eager to buy art online - and are not afraid of spending big sums on art merely seen on screen. Gen-X people like to be associated to the glamour and status of art and artists, yet they are resolute, ambitious in their purchases, and are digitally savvy collectors….and at Arriere-Garde we praise them and love them for that! The era of the digitalisation of the artworld is here to stay. It was about time for the art market to catch up with technology as much as its consumers have been doing! The art market has been far too outdated and out of touch! Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Millennials and Gen Z intensely use computers, mobile devices and social media for sourcing and purchasing art, dismissing the need of experiencing the work of art in person before buying it, particularly in the case of less expensive work. Millennials are now the fastest-growing constituency of collectors, and at the top end of the market, they buy more art and spend more on it than any other demographic. And millennials’ consumption of artworks nearly doubles that of Gen X and is close to four times that of Boomers. Truly engaging millennial collectors require galleries to rethink ideas of transparency, flexibility, diversity, and to drop old fashioned art formats such as the white cube exhibition style, with its snobbish and exclusivist formats of Private Views fuelled by canapes and champagne. At Arriere-Garde we want to contribute to this revolution, and we are looking for radical ways to embrace the new generations of art lovers and their desire for change in the geriatric art system. Let’s revolutionise it together! Gen-Z is increasingly becoming not only interested in art but also turning into active art collectors. Gen-Z consumers are more likely to be motivated by how the brands they purchase relate to their personal identity and community, as well as causes they care about. And they transfer this pattern to their art purchasing activity. Watch our content on our YouTube channel now! From 29th April to 13th May 2022, Arriere-Garde has held a series of online interviews with cutting-edge contemporary Brazilian artists at the CEB, University of Salamanca, Spain. Art historian and critic Kalinca Costa Söderlund, the Founder of Arriere-Garde, has delved into the artistic research and production of 3 artists whose work belongs to Arriere-Garde's roster: Marcelo Amorim, David Magila and Juliana Freire. The series kicked off on Friday, 29th April with an interview with David Magila, a São Paulo-based artist with decades of research and production based on Brazilian architecture and its complexities. Click on the link to the video above and watch now.... Gen-Z stands out particularly for the fact that they feel the need of relating to the artists they buy art from, and people who belong to this generation intentionally support artists as they support their own friends. Young art collectors tend to despise the old-fashioned side of the art market, and its insistence on formal live events, pretentious Private Views, exclusivist mentality and exclusionary stance toward those who are not obviously wealthy. They like price transparency, immediacy, and truly enjoy collecting by acquiring work by browsing online and through a few taps on the screen. Did you like our content? Become a subscriber on our site and get notified when a post goes live.

Our collectors tell us that a work’s aesthetic appeal is frequently the gateway to a deeper exploration of the artist and their career. When asked about the biggest factors to consider when buying art, collectors reported aesthetics as the most important, cited by 78% of respondents—three times the number that cited an artwork’s potential to increase in value as a key motivating factor. At Arriere-Garde we know well that financial profit is not the major reason for buying art. For the true art collector, visual pleasure relating to the artwork’s story and the artist history are the real longstanding values of the art they buy. Creative capital is above and beyond economic capital. A CHAT WITH FRIENDS: A relaxed chat with the creators and collaborators of the project "Brasil de Nações": A Cultural Collective which promotes Brazilian art, literature, music, film, culinary and culture in general, based in Salamanca, Spain but with international reach. Discover who they are, what their careers and contributions to Brazilian culture are like... Kalinca Costa Soderlund, the Founder of ARRIERE-GARDE ART, in conversation with cultural producer Claudia Albuquerque, songwriter and musician Nelson Caron, author Alex Criado, and the acclaimed Spanish film director Juan Figueroa. Our collectors tell us that a work’s aesthetic appeal is frequently the gateway to a deeper exploration of the artist and their career. Among active art buyers in the artworld today, only approximately 17% admitted to be buying art without significant consideration for the works’ content or the artist’s background or career trajectory. Collectors also tend to see their homes as a reservoir of personal and cultural meaning, as a beacon of visual experience for guests, and a learning and formative narrative in the field of history of art for their children. They have a clear vision on the knowledge base, social and educational function that their homes spread out when they share their artworks with other members of their family, with friends and humanity at large. Therefore they consider how the art they buy can contribute to enriching their homes and personal spaces in these senses. Did you like our content? Become a subscriber on our site and get notified when a post goes live.