Clarice Oliveira Tavares

Artistas en su colección de arte

Bárbara Wagner & Benjamin de Burca

Claudia Andújar

Dalton Paula

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Descripción del Profesional del arte

Nacida en Brasil, Clarice Oliveira Tavares se trasladó en los 90 a Buenos Aires. Actualmente, reside en Nueva York. En Nueva York, Tavares lleva su defensa a instituciones como la Dia Art Foundation, donde forma parte del consejo de liderazgo. En el MET de Nueva York forma parte de la Iniciativa de Arte Latinoamericano desde 2016. Desde la primavera de 2019 viene financiando la primera residencia del Swiss Institute of Art para artistas con sede en América Latina, brindando la oportunidad de vivir y trabajar en Nueva York durante tres meses. Un panel de artistas que incluyó a Jac Leirner y Amalia Pica seleccionó a la primera ganadora, Abigail Reyes, nacida en 1984 en El Salvador. Este 2020, un comité de selección integrado por Fernando Bryce, Alejandro Cesarco, Federico Herrero, Regina José Gallindo, Claudia Joskowicz, Jessica Lagunas, Jac Leirner, Tania Pérez Cordova, Oscar Santillán, Javier Tellez y Abigail Reyes -anterior ganadora- ha seleccionado a los artistas mexicanos Noé Martínez (Ciudad de México, 1986) y María Sosa (Ciudad de México, 1985), para que realicen una estancia de septiembre a diciembre de 2020. Tavares tiene una graduación en Historia del Arte - Universidad de Palermo Buenos Aires, Argentina (2014). Tiene experiencia en el área de curaduría, diseño, relaciones internacionales e investigación. Investigadora del Centro Ethos con el grupo de investigaciones de la Dra Marta Satonyi 1997-2008. Coordinadora y curadora de la Galería Rulo Folgas, Uruguay 1993-1996. Diseño de moda de DACLA CIA 2003-2006. En el MALBA, Museo de Arte Latinoamericano de Buenos Aires 2006-2014, actuó en diversas áreas entre 2006 y 2014, tales como curaduría, diseño, relaciones internacionales e investigación. Su monografía de final de curso fue un estudio sobre Tarsila do Amaral: Tarsila, la Selva y la Escuela - Movimiento Antropofágico en carne propia. Se ocupa en este estudio de relacionar Tarsila y la formación de un imaginario nacional desde el punto de vista antropológico. < ENG "Clarice Oliveira Tavares. An art historian specializing in Latin American & Contemporary Art. Clarice has more than twenty years of experience in the direction of a global art institution and as a collector. Clarice served in many areas of Argentina's Museo de Arte Larinoamericano de Buenos Aires, highlighting the legacy of local artists that are currently impacting the art world. highlighting the legacy of local artists that are currently impacting the art world. Also, Clarice supports many institutions such as Dia Foundation, The Metropolitan Museum of Art, Swiss Art Institute in New York, Pinacoteca de São Paulo of Brazil, and others. An ardent supporter of emerging artists, Clarice strives to unite and promote Latin American culture and Contemporary art continuously in the international art scene. Clarice has an educational & professional background, graduating in art history and completing a Master’s Degree in Contemporary Art . She lives between NYC and Europe. "‘I try to buy artists that really matter in this moment, who are talking about the problems that are happening right now,’ says the Brazilian collector and philanthropist Clarice Oliveira Tavares. Since moving to New York six years ago, Tavares has accelerated her collecting of contemporary Latin American work by artists including Dalton Paula, Paulo Nazareth, and the collaborative duo Bárbara Wagner and Benjamin de Burca, all based in Brazil and addressing urgent issues associated with racism. In her second home in Miami, Tavares displays work by many artists about whom she’s passionate, including abstract sculpture by Sonia Gomes. Based in São Paulo and now in her 70s, Gomes works with fabric, twisted and bound, recalling a bundle of belongings on a stick she made in her youth when she tried to escape her home. ‘She’s talking about suffering, how family can be monsters. Sometimes you’re born into a situation that is not right,’ says Tavares. The collector points to a large-scale photograph of a young Yanomami child from the Amazon by Claudia Andujar. The Swiss-born artist has documented the indigenous peoples of Brazil since the 1970s to help defend their territorial rights threatened by deforestation and gold mining. Proceeds from the sale of Andujar’s portraits is divided between artist, gallery and indigenous communities, Tavares notes. Born in the south of Brazil, Tavares moved to Buenos Aires in the 1990s, where she got her degree in art history. Her collecting began with her first husband, Roberto Grünberg, who would buy her works of art as gifts. ‘His mother was a big collector and used to give great parties with musicians and artists and writers,’ says Tavares, who credits her former mother-in-law as a role model. Tavares’ first institutional stewardship was at the Museo de Arte Latinoamericano de Buenos Aires (MALBA), where she pushed for yearly exhibitions in support of local artists, including the first Argentine exhibitions of Marta Minujín and of Rogelio Polesello, whose geometric abstractions grace her home. In New York, Tavares is bringing her advocacy to institutions including the Dia Art Foundation, where she’s on the leadership council. At the Metropolitan Museum of Art, where she’s been part of the Latin American Art Initiative since 2016, Tavares recently joined the director’s fund supporting Max Hollein’s vision for the institution. This year, she’s funded the Swiss Institute of Art’s first residency for artists based in Latin America, providing the opportunity to live and work in New York for three months. ‘There’s no obligation to produce anything,’ she says. ‘It’s to have the experience.’ A panel of artists including Jac Leirner and Amalia Pica selected the first recipient, Abigail Reyes, born in 1984 in El Salvador. Tavares fears that many in her homeland are turning a blind eye to the dangers of repression under the new far-right government in Brazil. ‘I moved to Argentina when the dictatorship was still fresh in people’s memories, and it forced people to look at that problem, not to repeat again,’ says Tavares. She is now watching the government in Brazil cut funding for public education and culture and the society grow more misogynist and homophobic, with one of the worst records of LGBTQ-related killings worldwide. She describes receiving entreaties for help from the young Brazilian artist Igor Vidor, whose work explicitly addresses the violence in the country. A work by Vidor, featuring two bright red painted rectangular panels, wedged apart by the bullet from a gun, is in Tavares’ collection. After the Brazilian presidential elections, Vidor felt his life was threatened and has now relocated to Berlin. Tavares brushes off being labeled a ‘communist’ by some. She feels collecting is more than just buying beautiful art to have in your home, and voices her progressive views behind the scenes at institutions where she wields influence. ‘I think art should be a place for social change,’ she says. " Texto extraído de la web de la feria Art Basel: https://www.artbasel.com/stories/brazilian-collector-clarice-oliveira-tavares-change-agent