Art collector and member of the Latin American Art Acquisitions Committee of the Tate Modern, London. Lorenzo is also a renowned architect, owner of the firm Lorenzo y Asociados Arquitectos and president of DINA (Diseñadores Nacionales Asociados).
How did you find Swab 2023?
This year, I discovered a renewed Swab with a new pavilion that provided an excellent layout, allowing for a smooth experience to explore, walk, and rest. Additionally, the atmosphere created contributed to a perfect ambiance. In short, I found a vibrant fair and personally loved it.
How has your experience as an architect influenced your approach to art collection?
Architecture has had a significant influence on my work. If you study my collection, you’d appreciate the abundance of works with an architectural profile, whether they be photographs, drawings, paintings, or installations. This professional influence is evident and fascinates me, as I have always believed that art collections reflect a self-portrait. For me, life is intrinsically linked to art and architecture, so what better way to reflect this than to include architecture in that self-portrait.
Could you talk to us about a recent addition to your collection and what made this piece stand out to you?
In my recent visit to Swab, I acquired two outstanding works: one by Venuca Evanán, from Enorabuena gallery, and interestingly, later at ARCO, a piece by Violeta Quispe from the Vigil Gonzalez gallery, who happens to be Venuca’s cousin. Through their paintings, they capture their experiences and social complaints in a powerful way, reflecting the social X-ray of Peru.
On the other hand, in Swab I acquired a piece by Ivana Salfity, an artist from Salta that I have been following for some time. It is a sculpture of a stone of soft material. Later, I visited the Remota gallery in Salta and acquired another piece of hers, of the same stone, but in hard material. These two pieces caught my attention for their interesting duality between the soft and the hard, between what it seems and what it really is, as well as for their social denunciation of the Salta community.
Although many pieces caught my interest at Swab, I want to highlight especially the works from the LATAM section. This sector has experienced notable growth not only in terms of presence but also in quality.
What are you looking forward to at SWAB 2024?
I have high expectations for 2024. In 2021, due to the pandemic, I couldn’t travel, but I finally returned last year in 2023. It was a pleasant surprise and a joy to rediscover the fair. Therefore, I am very excited and eager for what awaits us in 2024, especially to see how the fair evolves and improves even further.
How do you foresee the future of Latin American young artists in the upcoming years?
Latin American art and artists are experiencing an exceptional moment, as reflected in the Venice Biennale. For the first time, a Latin American curator, Adriano Pedrosa, has gathered a large number of artists from countries like Argentina, Brazil, Peru, Colombia, and others. This biennial has marked a geographical revolution, giving visibility to artists who were not as recognized before. Additionally, paradigmatic cases have stood out, such as the Peruvian artist Sandra Gamarra, who represented the Spain pavilion.
I love observing these developments, although there are many artists who have not yet found their place. In the case of Argentina, specifically, I believe we face an evident pricing problem, a consequence of our country’s economy, which devalues the work and position of many artists. These should have a higher value and recognition than they currently possess. This situation is something we, the Argentinians, will have to work on to achieve a change.
In summary, I believe good times are ahead for Latin American art, and I really appreciate that the Swab fair highlights this focus through LATAM with the curatorship of Santiago Gasquet.
SWAB in 3 words:
1. Barcelona
2. Youth
3. Promising