Soledad Lorenzo has made herself what she's nowadays, passionate and with a young spirit, she loves her profession, she consider herself privileged and she's a role model, a tireless woman with a unique and elegant courage conveys serenity and harmony and has an exquisite taste to select its artists with whom it maintains an excellent relationship. The story of a woman who for reasons of fate had a second chance to find the place which she'll never leave, a sensitive woman from head to toe. The admiration for this woman is imparale and although she does not think that way she will always be remembered and will be an example for future young people in this exclusive world that is art. It's been only few hours of interview but it has been a great pleasure that she has opened the doors of his small and intense universe which she has shown me with great ease and confidence.
Can you tell me something about ARCO?
Arco has sympathy in the art world, there are options in all price and the collector as passionate, if they see something they like, they are keen to find an excuse. In 2010 despite the crisis has been a success cause if there is less is not bad. The trouble will be if there's a lot but not good enough.
How were your beginnings? It applies for the artistic inheritance received by your father?
Naturally, I was widowed in 1973, when I return to Madrid from London i was offered a job with a friend who had been associated with a person to open a gallery, my friend thought I was the right person. It is not the same as when you're looking for something, in my case it was not my choice. I came to live with my husband in London who i was helping in the social work, obviously I served much of that time. Art helped me in my mental state to have had that contact with death, I saw a lot of the positive part of my situation, was a revealing exchange. In my time at Guereta Gallery i began without knowing Fernando Guereta, was Paloma Aguirre his partner who introduced me to him. I thought of my father who was a collector and was very involved in the art world, but it was a world I'd see through my father and brothers eyes, not for myself.
In fact, i was convinced that i had no type of sensitivity for culture as constantly heard people talking, I was overwhelmed by his intelligence, makes you feel that you are not gonna be able to reach the top. As i was concerned about it I told Fernando Guereta that i knew nothing and he said it did not matter cause all those who think they know they knew nothing at all.
So I started and I knew from the first moment that I would stay there, I had found my site.
How was the experience at Guereta Gallery?
The issue is that when my husband death came up i did not know how I would achieve all that change, I wondered if i was used for daily life? I asked myself many questions and it looked harder, even my friends saw me as if i was in a very spiritual world but on the contrary i was in the reality of life, was a real experience and I realized it was not easy for people to understand what i was going through, people just felt sorry for me, they just read it as it was a real blow to me. They branded me as mystical when I'm just the opposite.
Fernando's Gallery had extraordinary works of art of the twentieth century, like Picasso, Miró, it was a traditional market. Spain has been slow to be cultured, there was no important collections, the gap was huge.
How did the idea to open your own Gallery become?
That is quite a natural evolution, my brothers asked me what i was going to do with my life and I just knew I wanted to return to Spain. Once i was back the adventure begin, i did not want any responsibility, I cared more about the entire process within my life.
I knew if I opened a gallery I was going to thrown myself into it because I am a hard worker, and it seemed a privilege to have seen the sensitivity of art. I've always heard about the awful experience that is the loss of a loved but i've had never heard of how positive it is to accept life. Only culture can come to this attitude I had at that time to went through all that change, the emotions, more being a person not qualified to write about it but what you do is live it.
I started and I knew I would not leave the culture even less Art.
How do you choose the artists?
Like everything, we are not teach to educate the eye, the look is as if the Holy Spirit says go and see, art is something natural, in the background art is so important because it is life itself and is more complex because includes all the senses, the images are the look, the look is always emotional. Precisely because we see our life is emotional.
Do you catch the artists or do they come to you?
The gallery choose, the best definition is: as the groom, you can not explain why one and not another is a feeling, it is passion, art is passion.
Do not you ever thought that an artist with whom you worked a few years ago suddenly its work does not filled you?
It just happened with two artists, they are very few in the background, is quite logical as in couples people evolve in different ways. In some cases you can combine the development and in others it breaks. But in principle that complicity is created from the passion that I first worked. I am one of the few galleries that keeps artists from the beginning that started with me and have evolved, on the contrary they look much better than when I took them very young, having lived their evolution to better is more than normal.
When you started did you had contacts or did associate with others?
When i worked with Elvira Gonzalez they had sensational but historic exhibitions of modern art and I realized that i was more interested not the work but more in the artist's thought process so the artist intelligence contrasting it with the word. Art is emotional therefore is not dogmatic, the word tends to mean truth as fists, art is never so, it is individual is not transferable rather than expressions, the emotion that you feel you can only streaming live with exclamations about how beautiful or how horrible it is.
Can everyone have an opinion about what you see?
No, you need to know, like literature, poetry or music. Music is more general, many people participate in the popularity but art is physical, they are images, people can have an opinion and say what nonsense this line is. The look is more total is a sense that captures things but at the same time you listen, you hear. The other day I read something I found interesting which is that people are getting quickly use to contemporary music through movies, is music without melody sounds and people get it, that does not happen with art.
What do you think it should be done to gradually introduce contemporary art in society?
Art will always be a minority. It is true that much has changed, young people have many more opportunities, society has a chance of education by increasing the number of susceptible individuals. But proportionately art as not been teach at college or university it lacks of majority, the artitst comes from families who don't love art and they have to fight against it. Maybe a child says I play the piano and the family supports him, those are much more static occupations rated as a writer or musician because people do talk about it and see the process, but with art it seems that we all see the same thing . It is difficult to understand, people say but I am like you, but NO sorry I do not hear as well as other friends of mine, because they have devoted their entire life to it. With the look there's much more, Guillermo Perez Villarta told me that to his mother he did not work, in a concert a musician is working and for an artist it seems to do anything, families do not feel this profession the same way.
There is no visual education, but there are more chances to be taken to a museum and of creating habits but there's no education in depth, you have to be help to understand. Probably in England has been more careful but equally there is no visual education.
How are the realtions between galleries and museums?
Very good, a museum director can not ignore the galleries, the Gallery always causes its presence, the relationships, the days are short and none have the time so galleries have to call for an exhibition and call the people you want to have at the exhibition, people you know that they are going to like but also those who do not know. It's our job to inform people that they should be and of course the collector who is the person who has to keep the art.
How does reviews affected you?
As I always say a good review is a joy and a bad review a small annoyance but it has no great influence, the bad thing is the silence. It is not the same if it occurs with a museum, the reviews are for the director of the exhibition, but for us it is critical to the artist to whom it affects and who is exposed, I am a bridge between the artist and society, but I choose, they can critize a presentation and have much respect for the work by that artist.
Galleries and museum's relationship is great, the artists begin by organized associations or through galleries for that we exist to see that the artist ends up in the museum.
How is the health of the collectors in Spain?
It has improved a lot, 20 years ago was terrible. I told a friend that the collector throws itself into paints and finds a world that enraptures, they were the Magnificent 7. Now we are at a level fairly close to other cities, there are fewer collections because it is so recent, there is no tradition of collecting. Today we live and the artists live, but it is a very difficult profession, you can enter through the front door which categorized you as the greatest, but it's a minority in proportion to all the people trying to join.
Madrid regarding the capitals of contemporary art?
He lacked, but we have the Reina Sofia museum as a structure that has nothing to envy to Pompidou and the Tate, which missed the collection, but today is a museum that is lacking in the latter stages. Modern art has great quality, but as we had the monsters we have as Picasso, Dali, Julio Gonzalez whom are very well represented, they don't get to realize there are new steps and artists to support. A change that surprised me was the presentation of Manuel Borja-Villel as director which has been phenomenal, we have a great museum but it took us lot of time just now it's beginning to have results but at the level of collection is very difficult, everything is very new, collectors are recent and there have been no donations while in the rest of Europe there is, thankfully is starting. In Spain we have a good example with the regions, Government has helped that each has a museum and museums are directed by people that has shown its worth and that understand. Spain has a situation of lack of tradition in sociological level, it was all a look back at the twentieth century but one time we looked ahead, the museums of autonomy make very interesting exhibitions.
How idoes the government helps?
They only help on the creation of museums. What is important to me is the creation of good collections that's the help fpr the Gallery, I don't want to be subsidized but i want museums supporting the artists and creating collections of contemporary art.
On one hand I think we are at very good attitude, but the problem is that there is a lack of the past that needs to be covered, such as the Reina Sofia must have a story. The grant is to acquire art works of the artist, the artist is the architect of his own building, the music needs subsidies, the theater, but we do not we just want the works in museums because it allows galleries exist and we are absolutely necessary, without an intermediate a selection could not be made. The political world can be wrong but they have the will to help.
Have you ever regretted not acquiring some artist or work?
No, in principle I like many other artists who are with other galleries but you see it as an interest in a guy, but I praise and admire from the distance. The artists that have already committed to other galleries if you like them you even give them publicity, but when you are aware if a young artist actually does not have any gallery, there are some cases where you just praise them and other cases where you call and let him be your boyfriend. It is a mutual moral commitment to long-term condition.
What is the best way for an artist to start in the gallery world?
The artist must have a strong ambition to be and saty, it depends on the effort, the ambition is positive. I liked Jorge Galindo's work at first but there was something that did not quite jell, I suggested him to try with another gallery, but he said he would wait for me a year later he called me to see his work i was actually hooked. Creativity and being stubborn is essential. Personally if you are interested in an artist you never say them what to do, you can not, who knows is he, you're a spectator.
Never give any opinion?
For example I can decide about the montage, but the artist is there, he decides, one thing is that as you know very well the space you give your opinion. It is a tandem, more and more there are artists who incorporate video which requires high collaboration, today the artist is still quite individual yet very complete and collaborate more, do video, photography, sculpture ... Sergio Prego and Iñigo Manglano-Ovalle are considered as sculptors but people place them on video.
What do you think about photography?
I like everything, what happens is just say that to be a great artist is all part of the same attitude, as thought is a complete artist, but as we lived through that excess of photography for the fact of being photo was valued , but either let me gasp or doesn't excites me, it needs to be supported by that other talent. We are living with photography what has happened to the painting, there is saturation and the same is happening with video. What happens is that it's a medium used from the beginning of a century of minority to minority that started to become an artistic medium that everyone uses, we must separate terms. As happened with cubism, a priori we accepted it because it was where it had to be.
What is art? Art is everything?
If you have talent, yes, and what is art? whatever the artist says it is an art object. The tax part of art is art, unique pieces, but today for example video is not included, in photography till 30 copies photography is considered art object.
But do you think that can be defined?
As a tax way yes, everything the artist says is an art object, how society responds to it, going completely interested or not caring is another thing. There is no other definition is decided by the artist and society as a whole. This young man that begins by saying look at my work and you dotes on its job you just econgratulate its talent, now during the trip can become a genius or stay being just a good artist. It is difficult to see that the talented can stay halfway.
Why are revalued the works of deceased artists?
Because certainly there are no moreand will be no more works of this artist, for example, Picasso sold a lot when he was young so in the background the works are placed, if they become geniuses only time will tell who will become masters of masters is the influence they have acquired which will tell and is real when new generations of these artists are breastfed by these masters, are breastfed even if they do not follow them but for sure their existence affects them. Is not about following the trend but the fact that follow and observe all the fact contribute and aspire to it is what matters.
Classical art, is more acceptable?
In the art world you see at present not looking back; Luis Gordillo told me that he did not understand young Velázquez even if he is easily well understood because people see it as it is he painted reality. With our great painters as Goya, El Greco, when they also grow is Velazquez who takes the cake, he had a special look was the only artist who has painted without mental interference, just a reality. Is not that classical art is more accepted but we had more tome to understand.
Where do you think contemporary art is going?
Where life goes, the artist draws and is fully bound by what is not predictable, the narrative, literature with life they evolve, but the tool is always the word, whereas in art, the tool can be smoke, anything. How could it not have more to tell an artist living in cities with the one that lives in the countryside, which doen't mean that in its mind decides otherwise but it will always be imbued by present, looking at hte past doesn't help. Pérez Villarta is considered an artist who draws the past and he doen't see himself that way, indeed he loves the present but when you see wonderful things from the past he remain them in his head and when he paints all what he has saved to his memory comes out and is blended. According to his words: "My memory is all I see and I've loved, people get confused by looking to the past, what I do is lay on my mind all I see."
Do you have any artist or work dream that you wish to have?
No, because the gallery shouldn't be possessive, maybe I have preferences but disappeared it sold what letf I think is just as good as other works, in every moment of an artist the level is equivalent. A gallery must not be fussy, an attitude makes a profession and my role is to create large collections and what I think is best i should sell it to the customer. I do it with enthusiasm, if I see a buyer who wants a unique box but has no feeling or sensitivity I say it is caught because you have to sell but do not just sell but to create collections.
Your dinners are quite famous in the world of art, why are performed?
No it is not so, it's dinner exhibiting artist, not my dinner, and is very open in fact i invite every person in the presentation, also the artist friends.
That means you have a great relationship with the artists, so happens with you and the other galleries?
With the artist and the rest of the galleries we have a great relationship, we respect a lot, with Helga de Alvear and Juana de Aizpuru is actually very close, we've been in this business since many years and is a healthy competition because we look for the sake of art not our own.
You have traveled all over, still doing it?
The truth is that I travel a lot less, because it also happens to you there are times you see it more necessary but today between the Internet and other facilities is not necessary. I oftenly travel to New York because I work with many American artists and i've always had a special relationship with them. My trips are to see more galleries than museums. I don't need to rest a lot, not leisure, i just like my summer vacation to be a homemaker.
Are you able to separate personal from professional life?
Yes I can, I do it in August, but i do not need much more time off, I have my own life, I am very independent.
How would you like the gallery to be remembered?
It is not going to remember, when I said so people think it is demagoguery, but the truth is that we are ephemeral while we are and when we leave who stays is the artist, to think otherwise is being unrealistic. Who is Leo Casteli today?, Let alone do so in 10 years, the creators stayed because they are the ones who change life, we are just on the way, nor pretend to be infinitely the important thing in life is being effective. Many people are sensitive, but the worlds of culture are small, the galleries are few and then we will be supplied by people who will be in another period and another time.
Our profession is that we are a bridge, in life there are many people who are rewarded so what more do you want? Even the artists can see their future, only the creators are very few and that in time will be remembered.
Is there another profession that you'd like to experience?
I'm delighted, I think it is a privilege to do what i do. I quickly realized I was lucky enough to choose something you believe cause it is real. At the beginning of the crisis, everyone was scared that if the bank takes the money, what will happen? and as we set up an exhibition I realized how lucky I am because this is real, art is life and match with so many sensitive people is a kind, art saves everything. Those who are truly in this job we can communicate perfectly, what is small can not handle the really important subject.
