Galeria Nara Roesler, which is among Brazil’s leading galleries, will move its New York location from the Upper East Side to a new space on West 21st Street in Chelsea next year. The new space, designed by Brazilian architect Miguel Pinto Guimarães, is about four times bigger than its current New York location in the Upper East Side.
“We can better show our artists and have different types of projects that are not limited by space,” Daniel Roesler, partner and senior director at the gallery, which also operates spaces in Rio de Janiero and São Paulo, told ARTnews. “The Upper East Side space was great for those three years of our conversation with the city, but the time is right now for another step in New York.”
The new gallery will open in January 2021 with a series of small presentations of artists on the gallery’s roster that will give visitors “a little glimpse into our program,” Roesler said. The following month they will mount a solo show of the late Amelia Toledo, whom the gallery had worked with at one point in her career and has only resumed representation of her estate as of this year. A Brazilian modern artist of the same generation as Lygia Clark, Lygia Pape, Mira Schendel, and Anna Maria Maiolino, Toledo was also included in the acclaimed traveling exhibition “Radical Women: Latin American Art, 1960–1985.” This showing of Toledo’s work will focus primarily on work from the 1970s and include installations, sculpture, and drawings.
“We thought it would be a great way to celebrate this comeback to the gallery with the show in New York,” Roesler said. “Toledo developed a body of work that is diverse that has a very interesting arc from the generation of neo-Concrete Brazilian artists to work that became more based on nature and the representation of natural things.”
Galeria Nara Roesler has been operating in New York since 2015, first as an office in the Flower District and then as a third-floor location on 69th Street in the Upper East Side, on the same block as megagalleries David Zwirner and Hauser & Wirth. The move to Chelsea, which the gallery had been considering since the early 2000s, signifies a new blue-chip presence in a neighborhood experiencing a period of turnover, with galleries such as P.P.O.W, Andrew Kreps Gallery, and James Cohan Gallery departing for Tribeca.
Though Roesler had experimented with the idea of expanding digital operations to meet heightened demand for online viewing rooms, the gallery ultimately decided to focus instead on maintaining its brick-and-mortar presence as a way to focus on the community in New York.
“We know that artists are working to create objects that are meant to be experienced in the flesh,” he said. “The digital channels have kept the conversations and connections with our audience going. We found a way without a physical space, but we still need a space to keep the gallery healthy in the future.”