In its second edition, Rotas Brasileiras, promoted by SP–Arte, has established itself as a cultural event dedicated to the appreciation and dissemination of art from all over the country. The fair, which took place from August 30th to September 3rd, welcomed 15,000 visitors, including opinion makers, art enthusiasts, art professionals, collectors, and national and international curators.
At ARCA in São Paulo, the audience had the opportunity to admire works by approximately 300 artists featured in 70 curated projects that celebrated the richness and diversity of Brazilian art. According to Fernanda Feitosa, the founder and director of the fair, “Rotas Brasileiras consolidates a much-needed movement to promote Brazilian art in all its forms and from all geographic and cultural backgrounds. The fair celebrates this diversity and fosters exchanges among artists, galleries, curators, and collectors, creating new opportunities for everyone. It’s important to note that this scene also attracts international attention. In this edition, we welcomed representatives from around 40 international museums and institutions.”
Among the international figures who attended Rotas Brasileiras were Clara Kim, Chief Curator and Director of Curatorial Affairs at MOCA Los Angeles; Vivian Crockett, curator at the New Museum and co-curator of the 2026 New Museum Triennial; Matilde Guidelli-Guidi, Assistant Curator at the Dia Art Foundation; Guadalupe Requena, Institutional Director of Fundación Malba; David and Nancy Frej, collectors from Chicago; Jennifer Inacio, Associate Curator at the Pérez Art Museum, Miami; and Tatiana Cuevas, curator and director of the Museo de Arte Carrillo Gil (MACG) in Mexico City, who also participated in the Talks program alongside artist Erika Verzutti (Fortes D’Aloia & Gabriel).
The galleries that participated in this edition celebrated strong sales and exposure in the market. Marco Zero from Recife, which exhibited a selection of works and artists paying homage to the Armorial Movement, sold 80% of what they brought to the event. Marcelle Farias, a partner-director, said, “This fair was very good for us; we had a great reception and ended on a high note. An important aspect is that we sold to significant collections and made many international contacts with curators from important institutions.”
Asfalto from Rio de Janeiro finished this edition extremely satisfied with the results. Larissa Amorim, a gallery partner, stated, “On the first day, we almost sold everything except for one piece. We rearranged the booth and sold almost everything again. We also received important visits, including museum directors.” Nicolas Dantas, a partner at Asfalto, added, “We sold several works that were not in the booth, totaling, as of now (Saturday, September 2nd), R$ 200,000. We made many negotiations since the preview, and the reputation of the fair had a positive impact on that.”
Mitre from Belo Horizonte brought works by Luana Vitra, an artist featured in the 35th São Paulo Biennial, and sold around R$ 400,000. Carmo Johnson, known for presenting works by indigenous artists like the Mahku collective, was also successful. Luan Lima, the gallery’s assistant director, said, “The balance is positive. We sold 50% of what we brought, and we made important contacts, so the post-fair period should be good too.”
Karla Osório, the founder of the eponymous gallery in Brasília, noted that the fair’s theme contributed to the positive results. She stated, “This fair had a good level of attendance, good timing. It was an event that highlighted Brazilian artists to an audience composed of many foreigners, which greatly contributed to overall receptivity. We sold very well, including to new and international clients.”
Millan, which in this edition brought a selection of works and artists addressing themes related to nature, climate change, and environmental preservation, like José Bento, Daiara Tukano and Henrique Oliveira, also approved of the results. Maxwell Alexandre, a Rio de Janeiro artist recently announced as represented by the gallery, was present at the booth with works from the Novo Poder series, a set of works he produced for his solo exhibition at Casa SP–Arte, running until October 7th, 2023. According to Socorro de Andrade Lima, in charge of the gallery, the evaluation was positive both in terms of sales and generated contacts.
First-time participants, like the Goiano project Sertão Negro, were also delighted. William Maia, a member of the collective, said, “The fair was great in several ways, especially for us, first-time participating artists. Regarding contacts and sales, we exceeded our expectations; we established relationships with more people than we anticipated.”
Paulo Darzé, from the eponymous gallery in Salvador, which brought a dialogue between Ayrson Heráclito, selected for the 35th Biennial, and Nádia Taquary, celebrated the strong results. “We are very happy with our participation in the fair; it couldn’t have been better! We sold very well, and the audience was of high quality.” Renan Quevedo, from the Novos Para Nós project, commented, “People wanted to know the stories of the works, the artists, and their journeys. We noticed that they are increasingly interested in popular culture and Brazilian identity.” Quevedo sold over 60% of what he brought to the edition, with works going to important collections and new collectors.
Superfície, which presented a selection of works by José Leonilson, León Ferrari, and works by young artists like Gê Viana, Andréa Hygino, and Marina Camargo, found the results to be positive. Gustavo Nóbrega, the gallery’s owner, said, “We are happy to have participated; we had good sales and made good contacts. We brought together important artists from the secondary market, focusing on concretism, conceptual political art, and young artists. We increased the chance of sales, in addition to featuring artists from all over the country, including representatives from Rio Grande do Sul, Paraíba, Rio de Janeiro, Maranhão, and São Paulo. We sold works ranging from R$ 20,000 to R$ 200,000.” Rodrigo Ratton, who leads the gallery bearing his name, also celebrated, stating, “My assessment of this edition of Rotas Brasileiras is excellent. It’s the best fair I’ve ever participated in, and I sold the most.”
In 2024, SP–Arte returns to celebrate its 20th edition from April 3rd to 7th at the Bienal Pavilion.
Rotas Brasileiras provided visitors with an immersion into the artistic universe through public programs. In the Talks program, artists invited curators to discuss their work. On Thursday, August 31st, Erika Verzutti (Fortes D’Aloia & Gabriel) engaged in a conversation with Tatiana Cuevas, while Gê Viana (Superfície and Lima) talked with Samantha Moreira. On Friday, September 1st, the discussions took place between Marcone Moreira (Arte Pará) and Laura Rago, and Mônica Ventura (Instituto Inhotim) and Lucas Menezes. Soon, these conversations will be available in podcast format on Spotify.
The audioguides were listened to approximately 200 times. They are timeless, as they delve into the journeys and stories of artists and their works, and can be listened to on Spotify at any time. Ludimilla Fonseca, Henrique Menezes, and Ariana Nuala, the same experts who created and narrated the audioguides, also conducted guided tours of the fair on Friday, Saturday, and Sunday (September 1st, 2nd, and 3rd) with the participation of more than 120 visitors.
At their booth, Vivo, the main sponsor of the fair, invited the public to leave their mark by writing and drawing on the booth, which was made of mirrors. The program’s inauguration featured an intervention by the artist Panmela Castro, and the agenda included the participation of the artist herself and figures such as Giselle Beiguelman, Gretta Sarfaty, Veronica Stigger, and Slam das Minas.
Unipar, also a main sponsor, organized guided tours for over 70 members of the Community Advisory Councils (CCCs) of Cubatão and Santo André, as well as artists and educators from Rio Grande da Serra. The aim was to enhance human development and broaden access to art and culture for communities around their factories.
This year, starting from the April edition, SP-Arte consolidated its public programs – Open Studios, Gallery Night, Gallery Weekend – into one program: the SP–Arte Circuit, the official event program that took place between August 19th and September 3rd, both before and during the Rotas Brasileiras event. The circuit encompassed all sorts of activities organized by exhibiting galleries and guests, including openings, conversations, guided tours, and more, totaling over 60 events throughout the city and involving thousands of participants. The SP–Arte Circuit was sponsored by Blue Moon.
In August, the month of the fair, there were over 6,500 downloads of the SP–Arte app, totaling 16,000 users. The app, which received a new version before Rotas Brasileiras, was a novelty in the April edition and the first to be launched by a fair in Latin America. The app organizes all the events that take place during the fair and throughout the city during the SP–Arte Circuit. All activities can be filtered and favorited before becoming available in the “My Schedule” tab, which turns into a personalized itinerary. In the app, visitors can also purchase and access their tickets, browse through all the useful information about the fair, view the map and list of exhibitors, read editorials published on the website, and receive reminders about the program. The app is free and available in both Android and iOS versions.
SP–Arte Rotas Brasileiras is master-sponsored by Itaú, Vivo, Iguatemi, and Unipar, and it is sponsored by Tiffany & Co., Chandon, Mitsubishi Motors, Blue Moon, Absolut, Liberty Seguros, and Finarte.