Expanding to New York has also been integral to Brazilian Galeria Nara Roesler
’s continued strength, said director Alexandra Garcia Waldman. “When the South is on holiday, the North isn’t. So it keeps the program more active.” (The gallery will open an additional space in Rio’s Jockey Club next year.) The gallery sold four works by
(BIG DATA (North),
2016, for $42,000; BIG DATA (West),
2016, for $36,000; BIG DATA (EAST),
2016, for $42,000; and Complete Coverage on Oiticica (March, Turner Box),
2016, for $14,000), an untitled painting by
from 1965 for $160,000, and three works by
(Alchimie 339: En spirale huit couleurs
, 2008 / 2016, for €150,000; Continuel mobile transparent
, 1962 / 2016, for €290,000; and Continuel Mobile rouge
, 1962 / 2016, for €190,000), among others. “There’s been a sense that the fair is in a different place, but for us we’ve had waves” of sales, said Waldman. “It’s been non-stop. But then again I was in a very lucky position,” with Le Parc having this week’s most prominent institutional exhibition, a major retrospective at the Pérez Art Museum Miami (PAMM). He also helped curate the gallery’s stand.
Like Paul Kasmin’s Olney, Waldman cited the established nature of the gallery’s program as a benefit during global instability. “At a time when you don’t really know what’s happening in the world, there is a move to collect more consolidated work, to invest in things that you’re more sure about. For us, that works very well,” she said. Nara Roesler’s experience further reflects those of other galleries in Brazil, according to a report by regional gallery association Latitude to be released next week. Despite political turmoil in Brazil and the economic crisis gripping the country, three-quarters of those surveyed over a period from 2015 to 2016 suggested no change or an uptick in growth over the past year. That activity, however, has increasingly come from abroad, with 20% of sales taking place internationally in 2015, compared to 15% in 2014, and 10% of sales taking place online versus 4% in 2014.
, director Ben Strauss-Malcolm was among the few dealers who would confirm a different sales cycle at present. “It’s a little more slow pace but it’s a constant pace,” he said. Strauss-Malcolm went on to suggest that “people are still responding to the works that are most impactful to them.” And in a brighter indication for the market, he noted that demand had rebalanced across all the market segments that Pace deals in.