{"id":20553,"date":"2026-01-23T20:07:55","date_gmt":"2026-01-23T20:07:55","guid":{"rendered":"https:\/\/nationalgunowner.org\/index.php\/2026\/01\/23\/how-este-arte-and-laura-bardier-are-building-uruguays-art-market\/"},"modified":"2026-01-23T20:07:57","modified_gmt":"2026-01-23T20:07:57","slug":"how-este-arte-and-laura-bardier-are-building-uruguays-art-market","status":"publish","type":"post","link":"https:\/\/nationalgunowner.org\/index.php\/2026\/01\/23\/how-este-arte-and-laura-bardier-are-building-uruguays-art-market\/","title":{"rendered":"How ESTE ARTE and Laura Bardier Are Building Uruguay\u2019s Art Market"},"content":{"rendered":"
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ESTE ARTE hosted its most recent edition at the VIK Pavilion in Jos\u00e9 Ignacio. Courtesy ESTE ARTE<\/span><\/figcaption><\/figure>\n

Uruguay is hardly the first place that comes to mind when thinking about South America\u2019s art hubs, but the art world\u2019s perception of the country has been shifting in recent years, thanks to two factors. First, the growing influx of high-net-worth individuals settling in the seaside enclave of Punta del Este<\/a>, and second, what Uruguayan curator Laura Bardier<\/a> has built through ESTE ARTE.<\/p>\n

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Now in its 12th edition, the fair has created the infrastructure to support the growth and professionalization of an entire ecosystem. \u201cIn little more than a decade ESTE ARTE has truly changed the arts landscape in the region. It has been a catalyst for many, many projects,\u201d Bardier told Observer just after returning to New York, where she is now based and serves as director at James Howell.<\/p>\n

Born in Montevideo, Bardier has had a wide-ranging international career within the institutional art system. She spent years working with PAN and the MADRE Museum in Naples and has organized international panels and conferences, including the 2nd Forum on New Media Art, the 1st Forum on Documentation and Art and the New Media Art radio series for MoMA PS1 Radio during the 52nd Venice Biennale. Although she had no prior experience with art fairs<\/a> or the commercial side of the art world, Bardier had visited many over the years as an in-house curator, gaining a clear understanding of what worked, what didn\u2019t, and what an art fair could\u2014and should\u2014be.<\/p>\n

When launching ESTE ARTE, however, she had to start almost from scratch. Unlike neighboring South American countries, Uruguay had yet to develop a structured art scene. The country had some galleries, but many operated outside contemporary professional standards. An earlier attempt at a small fair had functioned more as a platform for independent artists to sell work, but it quickly vanished. \u201cThere was this very romantic idea of the artist painting in his studio, being completely independent from the market, not selling, being poor, suffering\u2014as if that were the only option,\u201d Bardier explains. \u201cWith ESTE, I wanted to introduce the possibility of another professional path, of building a professional framework, offering other options and providing information.\u201d<\/p>\n

\u201cI believed\u2014and still believe\u2014that there were artists with real potential to grow and to develop into a stronger community,\u201d she adds, noting that there were already many artists working, along with museums and an academy. Uruguay produced internationally recognized figures such as Joaqu\u00edn Torres-Garc\u00eda<\/a>, the foundational force behind Uruguayan modernism and creator of Constructive Universalism, and more recently, Pablo Atchugarry<\/a>. \u201cSome things were missing, yes, and things could be stronger, but each institution was doing the best it could within its budget.\u201d<\/p>\n

Bardier, who typically returns to Uruguay every Christmas, had begun exploring whether she could acquire works by local artists for a collection she was advising on. She quickly realized that while there was talent, what was missing was the infrastructure to support artists in building sustainable careers. That prompted her to consider launching an art fair. \u201cI started by doing deeper research to understand what had been done before, because I wanted to create something that strengthened the community, not something alien that just arrives,\u201d she says. She met with everyone who had previously worked in the arts in the region and tried to involve them in the process. \u201cSome people expressed concerns. They didn\u2019t really understand what an art fair could bring to the table. I think that mentality has changed, but at the time there was a strong resistance toward the commercial environment, or the idea of artists \u2018selling their souls.\u2019\u201d<\/p>\n

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Laura Bardier. Courtesy ESTE ARTE<\/span><\/figcaption><\/figure>\n

Bardier chose to launch ESTE ARTE in Punta del Este<\/a>, often dubbed the Hamptons or Monaco of South America. Once a seasonal retreat for South American elites, Punta del Este has, over the past few decades, evolved into a global destination for affluent buyers, investors and luxury lifestyle seekers. The city\u2019s high-end real estate market has seen double-digit price growth\u2014especially in luxury and beachfront properties\u2014driven by wealthy foreign buyers from neighboring Argentina and Brazil, as well as from Europe, particularly Switzerland, Belgium and the Netherlands. Uruguay has long been one of the most politically and economically stable countries in Latin America. Although it remains somewhat influenced by fluctuations in Argentina and Brazil, its broader stability has made it increasingly attractive to international residents.<\/p>\n

At the time, however, there were very few serious collectors. Most Uruguayan buyers acquired art through auction houses abroad, while wealthy residents in Punta del Este tended to purchase decorative marina paintings for $5,000 or $10,000 to hang in their homes. Bardier began to question the cultural, historical and market value of such works: if someone later wanted to resell a painting like that, what would happen?<\/p>\n

\u201cI then tried to create an infrastructure where there are options\u2014where you can discover other artists who may have resale value but also historical value, artists who contribute to the cultural and aesthetic history of the region,\u201d she explains. \u201cThere is a lot of wealth in Punta del Este. Most of the people come from Argentina, Paraguay and Peru\u2014essentially the wealthiest individuals from across the region\u2014but they were not necessarily collectors. There were a few, mostly from Argentina and Brazil, but overall many wealthy people simply weren\u2019t buying art.\u201d<\/p>\n

Without the budget to attract a large cohort of international VIP collectors, Bardier made it her mission to convert local wealth into local collecting\u2014something easier said than done. This remains one of the central questions of the art world: how do you turn wealthy individuals into collectors?<\/p>\n

The answer was patience\u2014and sustained personal engagement. Through direct relationships built one by one over time, Bardier gradually helped form a collecting community. \u201cYou can see it very clearly now,\u201d she says. \u201cThere is a group of Uruguayans who actively buy art. They started by buying at ESTE, and then they visit Art Basel Miami Beach, ARCO and other international fairs.\u201d Three years ago, she further reinforced this ecosystem by creating a selection committee composed exclusively of collectors who had been acquiring work at ESTE for over a decade. Some of those collectors have since grown both financially and institutionally, becoming patrons and even founding foundations that are helping expand the country\u2019s art scene.<\/p>\n

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Bardier\u2019s goal was to build an economically, socially and environmentally viable art ecosystem where artists, galleries, curators, and collectors could thrive together. Courtesy ESTE ARTE<\/span><\/figcaption><\/figure>\n

To further encourage collecting and patronage, ESTE ARTE established two awards. \u201cThere isn\u2019t a long tradition of philanthropy or sponsorship here, unlike fairs that have existed for 25 years,\u201d Bardier explains. \u201cSo we created awards to recognize and encourage collectors and philanthropists.\u201d<\/p>\n

The first is named after Princess Laetitia d\u2019Arenberg<\/a>, a longtime figure in Uruguay\u2019s cultural life. Each year, she personally presents the award to a collector or philanthropist. This year\u2019s recipient was Eda Kaftler<\/a>, an Austrian collector who relocated to Uruguay and has been actively collecting works by Uruguayan women. Past honorees include Mart\u00edn Seregui<\/a>, an Uruguayan collector with an extraordinary Escuela del Sur collection, and Tom\u00e1s Moyano<\/a>, an Argentine collector who moved to Uruguay and created a foundation.<\/p>\n

The second initiative is the inaugural Don Baez Acquisition Award, which supports the purchase of a work valued at up to $10,000 presented at ESTE ARTE. The award is funded by the Don Baez family, owners of an Uruguayan wool company with international reach. \u201cOne of my biggest efforts has been to develop the idea of corporate and business collections,\u201d Bardier notes. \u201cThere was no precedent for this in Uruguay.\u201d The award stands as a concrete example of how such collecting practices can emerge locally.<\/p>\n

An international fair with local roots<\/h3>\n

Through the years, ESTE ARTE has evolved through ongoing dialogue with collectors, visitors, buyers and art lovers. \u201cSome people don\u2019t buy, but they still come to the fair, visit museums, galleries and artists. We kept asking: what works for them?\u201d Bardier says. Designing a fair that made sense within its specific context was essential. \u201cI wanted to treat the context as an active framework, not as a backdrop\u2014to think about what actually works within our environment.\u201d<\/p>\n

This philosophy shapes the rhythm of the fair. ESTE ARTE is open only from 5 p.m. to 10 p.m., during sunset. \u201cYou\u2019re on the beach, watching the sun go down. That rhythm is Uruguay,\u201d Bardier says. The fair also emphasizes intimacy over spectacle. While many fairs depend on scale and visibility, ESTE ARTE reserves spectacle for the VIP preview. \u201cOur collectors aren\u2019t interested in showing off,\u201d she notes. \u201cUruguay sits between Argentina and Brazil, which are much more about spectacle. Uruguayans are very low-profile. We try to find the right balance.\u201d<\/p>\n

For that reason, the fair is limited to 14 exhibitors, each presenting a curated solo show. This structure makes the experience more accessible to local audiences while ensuring curatorial clarity and quality. All works are new, often produced specifically for the fair, with a strong focus on the primary market and living artists\u2014though rare, curated exceptions are made for historical figures. During public days, each artist presents and discusses their project, a format Bardier sees as essential for accessibility.<\/p>\n

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ESTE ARTE created a space where art could be conceived, exhibited and experienced in community. Courtesy ESTE ARTE<\/span><\/figcaption><\/figure>\n

Responding to growing demand from galleries, ESTE ARTE introduced a new initiative in 2026 that invited exhibitors to present a second artist outside the booth, with installations dispersed throughout the city and visible for the duration of the season. \u201cI didn\u2019t want to expand physically with bigger tents or new structures. I wanted to stay grounded in time and place,\u201d Bardier says.<\/p>\n

Today, ESTE ARTE receives roughly three times as many applications as it can accommodate. \u201cThis year alone we received around 600 applications. Not all are perfect, of course, but the quality was noticeably higher\u201d\u2014a clear sign of the fair\u2019s growing appeal.<\/p>\n

In its early years, most exhibitors came from Europe and the U.S., as Uruguay lacked a critical mass of professional galleries. Bardier leaned on her international network to introduce global standards to the local market. Today, ESTE ARTE is, as she puts it, \u201cinternational with local roots,\u201d as more domestic galleries and independent spaces continue to emerge.<\/p>\n

Where participation in ARCO or Art Basel Miami once marked the pinnacle of visibility for South American galleries, interest has shifted toward more decentralized markets like Uruguay. \u201cAfter COVID, that need changed,\u201d according to Bardier. She recalls how Brazilian gallerist Eduardo Fern\u00e1ndez<\/a> approached her during the second hour of this year\u2019s opening day, surprised to have already met five new Brazilian clients he had never encountered in S\u00e3o Paulo.<\/p>\n

When selecting international galleries, Bardier prioritizes those with a meaningful connection to the region. \u201cIt might be through the director, or through another artist they work with. It doesn\u2019t have to be the artist they\u2019re presenting,\u201d she says. \u201cWhat matters is that they understand how the system works here.\u201d<\/p>\n

From the outset, Bardier has also sought to foster meaningful dialogue between international curators and collectors\u2014on equal terms. \u201cNot from the position of \u2018we\u2019re in the Third World, we need validation,\u2019\u201d she emphasizes. Recent guests have included Frances Morris<\/a> from Tate, Hoor Al Qasimi from the Sharjah Art Foundation<\/a> and, this year, Bonaventure Soh Bejeng Ndikung<\/a>, curator of the 36th Bienal de S\u00e3o Paulo. Each invitation is paired with locally rooted engagement tailored to the curator\u2019s interests, ensuring that exchanges extend well beyond the fair itself.<\/p>\n

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Inviting international curators like Hoor Al Quasimi (center) has been key to bring visibility to local artists. Courtesy ESTE ARTE<\/span><\/figcaption><\/figure>\n

Every two years, ESTE ARTE organizes discussions around the Uruguayan Pavilion at the Venice Biennale. This year, the conversation expanded to include representatives from Chile and Argentina. \u201cThe idea was to open the discussion to the region,\u201d Bardier explains, noting her ambition to eventually establish an association of Latin American art fairs.<\/p>\n

It\u2019s an ambitious goal, but after 12 years, Bardier has certainly fulfilled her original aims\u2014not only launching an art fair, but helping to build a market and a broader ecosystem. The fact that her former assistant is now director of culture for the current government, and that a recent Uruguayan Pavilion in Venice was curated by another long-time collaborator, speaks to ESTE ARTE\u2019s generational impact. Looking ahead, she remains focused on refinement. \u201cIt\u2019s not about quantity. It\u2019s about quality. I want to keep raising the standards every year.\u201d<\/p>\n

More in Art Fairs, Biennials and Triennials<\/b><\/h3>\n

\t\t\t\t\"How<\/p><\/div>\n