One of the biggest and best conduits to Brazilian art
With no end to Brazil’s economic woes in sight, the domestic art market is taking a hit. But Strina, who has navigated this sort of stuff for 40 years, can be assured that her reputation and international client base, built working with the likes of Alexandre da Cunha, Cildo Meireles, Olafur Eliasson, Fernanda Gomes and the estates of Robert Rauschenberg and Lygia Pape, will see her through the rough times. Even so, the gallerist is taking no chances: the gallery’s return to the Armory Show in New York, after more than ten years of absence, is noteworthy. At home it’s business as usual at the Jardins gallery space: an exhibition for Jorge Macchi (following his extensive retrospective at Museo de Arte Latino-ámericano de Buenos Aires) and a show for Mateo López that stretched beyond the current gallery into Strina’s original space, a short walk away. This smaller, multilevel site, which the gallery had been using as storage, is now intermittently to serve as a project room.