CARLOS URROZ, DIRECTOR OF ARCO

“ARCO is an intellectual and sensory experience”

It was once called ‘The fair that modernized Spain’ in the title of an article featuring an interview with you. How would you define ARCO today, now in its 37th edition? ARCO is an intellectual and sensory experience. In the 1980s, the fair looked more like a festival; in the 1990s it became more academic (this is where the current gallery owners were trained), and today, it’s meant to be a market platform. Now we’re focusing on attracting new collectors, museum directors and great artists, and creating a space for them to meet each other.

Spain’s art market seems to have recovered. Is that why ARCO 2018 has such a clear commitment to the new wave of art collecting?

At the moment the Spanish art market is solidifying the positive growth of the last few years, regaining the strength it had in 2008. At ARCO, art collecting is making a strong comeback, but it’s also important to make way for new additions. We want to bring people closer to contemporary art and to help them discover affordable pieces.

What was the most expensive piece of art this year?

Nature morte, by Picasso, which the Leandro Navarro gallery sold for 2.5 million euros. The piece is superb, but it’s complicated in terms of price, assembly, concept and location, and will go to a public-private foundation in Spain.

What’s the primary source of sales?

Both national and foreign private collectors, as well as museums.

ARCO is an important point of contact between Europe and Latin America. How is this evident?

Carlos, who has a background in law, has been the director of ARCO

for seven years—but he's always been passionate about the art world. Formerly ARCO’s deputy director from 1994 to 1998, he has an indepth knowledge of national and international art galleries, thanks to his experience at the Helga de Alvear Gallery (Madrid) and his intensive work as an independent

cultural manager and business expert in cultural communication.

Latin American contributions have been a central part of ARCO madrid throughout its 37-year history—and this region's influence at the fair continues to grow. This year Latin America once again represented the most significant international presence at the fair. 35 galleries from 10 countries participated, with 15 galleries coming from Brazil. There were also a greater number of art professionals, collectors and special guests from Latin American countries at ARCO. And next year, Peru will be the main player.

You want visitors ‘to take in the art behind the creative process’, not just to ask about the type and cost of the piece. What tools do you need for this spirit to prevail? It’s good that visitors ask and learn about an artist who caught their eye, in order to find out more about the artist and the message they represent.

Are we becoming more aware of the value of art, of our personal emotional reaction to it, and of the desire for this to continue?

It depends on the person. Hopefully we are becomingly increasingly aware of the value of an artist’s work. That’s why it’s so important to go to the fair with an open mind, but also to visit museums, galleries and art centres.

This year Latin America once again represented the most significant international presence at the fair. 35 galleries from 10 countries participated, with 15

galleries coming from Brazil.

How does the Organising Committee ‘cook up’ the selection of galleries and artists?

At ARCO, content is meticulously selected, both by the Organising Committee for the General Programme and by the curators in the commissioned programmes, who do a great job of research and analysis. The General Programme’s selection crriteria for galleries are published in advance