Galeria Nara Roesler, São Paulo

Galeria Nara Roesler exhibits the work of a wide range of artists who use various different media and symbolic references. The artists come from different generations, ranging from Helio Oiticica and Julio Le Parc, to younger artists such as Marcos Chaves, Brigida Baltar and Cao
Guimaraes. The gallery has a special interest in diversity and has recently not only stepped up its participation in international fairs - which clearly reflected in the appearance of the artists it represents in various collections and exhibitions - but also sought, through the Roesler Hotel project, to promote the work of artists from outside Brazil in its programme of exhibitions.

"I am in favor of diversity. I try to gather the different sides of Brazil in my gallery", says Nara proudly. Such idealism has been living in her heart for about 26 years. In 1975 she opened the first gallery named "Artespaço" in Boa Viagem, a district in Recife, her home town. "My objective is to work mainly with artists from Pernambuco, such as João Câmara, Samico, Guita Charifker and Brennand, but also to represent 'outsiders', like Tomie Ohtake from São Paulo, Iberê Camargo from Porto Alegre, and Siron Franco from Goiânia", says Nara. Drawings were the theme of the first exhibition at her gallery, when still in Pernambuco. "Drawings are the first truth of art", she proclaims.

The art of teaching has also been a concern of her work since the early days on her career. Ms. Roesler then began to invite some important critics and curators to come to Recife, names such as Frederico Moraes, Olívio Tavares de Araújo, Fábio Magalhães, have helped her by giving strong support to the exhibitions.

Such teaching concern has most certainly been a family influence. Her father-in-law was the headmaster of the School of Fine Arts in Pernambuco, therefore Nara kept close relationships with the most important local artists and intellectuals, like Brennand and Ariano Suassuna. "I have always been involved with the world of creation, which really fascinates me", she declares.

Nara's gallery in Recife was born to promote the exchange between local art and the outstanding art production across the country. The presence of critics and curators in Recife had also encouraged reflection about the national art production, informing the southern and southeastern regions on the art produced in Pernambuco and in the Northeast as a whole. The decision to move the gallery to São Paulo was inevitable. Since the very beginning it had surpassed the regional limits in importance and started to look more cosmopolitan.

In 1986, Nara Roesler moved to São Paulo but kept the Recife gallery for another five years. In 1987, she came into the São Paulo market and in partnership with the Montesanti Gallery founded the Montesanti-Roesler Gallery, a link broken in 1989.

The gallery is presently established in a large house, big enough to shelter its vast collection, hold exhibitions and several other activities, including an auditorium for courses and lectures and a cybercafe for clients.

During the exhibition "Art and Erotism" (2000), under the auspices of the curator Frederico Morais, Nara Roesler promoted a session of the monologue "O Caderno Rosa de Lori Lamby" (Lori Lamby's Pink Notebook) by Hilda Hilst, with actress Iara Jamra.

"I want to turn the gallery into a small cultural center, playing the role of a museum. Art is a way to educate people. Art is an "emotion-organizer". The gallery owners have a public commitment regarding the exhibitions they promote, since printed memories remain in catalogues and books. They are tightly close to artists, giving them support and confidence. They must assure the spectator is given true information", says Ms. Roesler.

That is not an easy task, but Nara Roesler counts on the support of this kind of council of curators of which Agnaldo Farias, Ricardo Ohtake, Frederico Morais and Miguel Chaia are part. The team has helped Ms. Roesler to place quality products on the market with features that differentiate them from others, for example - the publication of a periodical newspaper, free of charge, on the gallery's exhibitions and artists. The paper also contains a glossary of art terms.

Nara Roesler is very straightforward and honest in the way she deals with her spectators, clients and artists. "Many a times it happens that sales are an exterior manifestation. I want the buying attitude to become an inner part of the client's feelings and that he becomes a collector. I want to open opportunities to people as to enable them to make their own decisions", Nara says.

Her relationship with the artists is also crystal clear and fair-minded. "I deal with artists out of the Rio-São Paulo center who are less influenced by the market and therefore go deeper into their truth. Brazil has got enormous potentiality. I mostly recommend that we look at our country before we decide to look outside of it".

This is the philosophy which has led Nara Roesler to conceive some of the most important moments in her career. Ms. Roesler arranged Siron Franco's exhibition to be held in 1987, right after the famous nuclear accident that took place in Goiânia. She just loves the fact that she was in charge of that exhibition. In 1988, organized Brennand's first exhibition in São Paulo with 120 sculptures. As from that day on, a new career started for him", she says.

Among the most recent, is Abraham Palatnik's very expressive 1999 exhibiton. "It did justice to an important artist that was unknown in São Paulo", says Nara, proud of so many initiatives.

Foundation year: 1989

Director(s): Nara Roesler, Daniel Roesler and Marli Matsumoto

Employees: Daniel Sena, Fernanda Figueiredo, Mariana Dupas, Tais Ribeiro, Teresa Halfin, Tete Tavares