ARTBO HIGHLIGHTS

By Vero Posada

October 10, 2024

Agora Convention Center, ARTBO 2024. Courtesy of Jacobo Velasquez.

This year's edition of ArtBo, the international art fair in Bogotá was a significant milestone, marking the fair’s 20th anniversary. Despite lower participation from foreign galleries and collectors due to economic concerns and speculation, the fair exceeded expectations for national sales. Colombian galleries found unexpected success, highlighting the resilience of the local art market and underscoring the sector’s ability to act as a barometer of the country’s economic stability. This paradox, where art sales thrive despite broader economic caution, reflects the unique dynamics of the cultural sector in Colombia. 

ArtBo 2024 stood out for its diverse gallery proposals, ranging from contemporary and emerging artists to historically significant pieces by established masters. This variety made the fair feel accessible and less intimidating, welcoming everyone from young collectors to experienced art buyers and prestigious institutions. The fair clearly acknowledges its diverse participation and audience, further pushing the boundaries of what it presents. 

A key feature, the Artecámara section, has become a platform for showcasing emerging artists, offering visibility and an entry point into the broader art market. Unlike other sections of the fair, Artecámara is not primarily focused on commercial success: instead, it encourages galleries to discover fresh talent and take risks showcasing unconventional works. 

This year’s Artecámara, however, somehow fell short of its usual standard. The curation was heavily focused on experimental video, which felt one-dimensional. While video art is indeed a popular medium among younger artists, many are also pushing boundaries in traditional mediums like painting, sculpture, and drawing. Unfortunately, these more tactile explorations were notably absent, making the selection feel incomplete and unrepresentative of the emerging art sector,  the lack of variety leaving much to be desired.

Striving to encompass both ends of the spectrum, the fair also introduced a new section this year: Referentes. This institutional exhibition, curated by María Wills and Pablo León de la Barra, celebrated the critical role galleries have played in shaping Colombian art history. The exhibition highlighted how galleries have often taken risks, championing groundbreaking artists and filling the gap left by limited national institutional support and resources. Referentes was a powerful addition to this year’s fair, and featured a substantial amount of archival material and documentation that served as a subtext to the artworks, including invitations, press releases, posters, and photographs. This left us with high hopes for future editions of Referentes!

Santiago Cárdenas of Leon Tovar Gallery, New York. Courtesy of Jacobo Velasquez.

Among the many highlights, the Galerías section received exceptional public response. Notable galleries included Otros 360 (Bogotá), Rolf Art (Buenos Aires), Mmaison Galería (Bogotá), Leon Tovar Gallery (New York), and Policroma (Medellín).

Galería la Cometa, Bogotá, Madrid, Medellín, Miami. Courtesy of Jacobo Velasquez.

Mauricio Salcedo of LGM Galería, Bogotá. Courtesy of Jacobo Velasquez.

All in all, ArtBo and the participating galleries’ proposals serve as exemplary models for the global art scene. More unattainable, selective, exclusive, and luxurious – is not always better. Satisfying the younger generation's thirst for knowledge, staying attuned to the interests of emerging artists, and providing the public with a variety of offerings can have a significant impact. Whether this is the fair's intention: I like what I saw and hope we can keep it up!

References:

Mariana Gomez, Samuel Urrutia, Manuela Rodriguez & Martin Isaza