Frances Reynolds

Marc Pottier

Marc Pottier

Curator & Art Advisor
São Paulo, Brazil


Energy (with her one would have to invent an even stronger word or say that the sky could be the limit?), inventiveness and generosity directed by her passion for the arts, a person who does not like to put herself forward and who has put herself at the service of artists, this is how we can describe Frances Reynolds. This inexhaustible driving force in the art world, has set up the Fundación Arte Vivain Europe and the Instituto Inclusartizin Brazil, which allow her to give free rein to her cultural passions. Hold on to your hats!

Her country is Culture

She is Argentinian, was married to a Brazilian and has two children, but in her case her place of birth may not matter? Frances Reynolds is a citizen of the world, has a horizontal vision and her real country is in fact that of Culture. It is difficult to keep up with her incessant rhythm, where it seems that sleeping is superfluous… Living today between Lisbon, which is her new European base (after having lived – also – in Madrid and London), Rio de Janeiro and São Paulo (shall we forget Buenos Aires?), one has to follow her so much that this woman has a bottomless appetite for action as soon as it is a question of helping the artists and of bringing together around them all those with whom she has never ceased to weave solid links. No snobbery, with her smile as a standard, you meet her one day in Madrid with the King of Spain who decorates her to thank her for having taken the 500Splendours of Spain – from El Greco to Velazquezand Spanish contemporary art on a trip to Brazil, and the next day you find her visiting a new gallery opened in a favela in Rio because it shows emerging talent. She wouldn’t have missed it for the world!

For this fighter, her broad vision of the world is not new.

While art has always been part of Frances’ DNA, trained in art history, her initial focus was on audiovisuals. During her 30-year professional career, she has held positions in various multinational companies in the business consulting sector. She was Vice President of Sales for Latin America at Warner Brothers. She was also Vice President at Orion Pictures. In 1992, she created Mega Distribuidora de Filmes in Brazil, one of the leading independent distributors of television rights, including Buena Vista International (Disney). This is how you could meet her on her tours that took her from the United States to all the Latin American countries but also on her hooks in Europe.

Her marriage in Brazil to one of the heirs of the Globo press group made her turn to focus on the visual arts. She created the Fundación Arte Vivain Europe and theInstituto Inclusartizin Brazil, non-profit organisations that promote cultural initiatives to bring art and education closer together and to disseminate culture to as many people as possible. In 2007, she also founded Reynolds Ventures Ltd‘, a unique consulting firm focused on investments in Brazil, Uruguay and Argentina.

The power of diversity

If she has this particularly broad and complete vision of the world, which can give the false impression that she has no home base, it is indeed Brazil that she fell in love with and particularly Rio de Janeiro, a stopover city, where she used to come to attend art classes at the Parque Lage school. There she met people who became like a second family to her, such as the artist Beatriz Milhazes or one of her mentors, the famous Brazilian art historian Paulo Herkenhoff. For her, the great ‘power’ of this country and this city is the mix, which contrasts considerably with many other places in the world where ‘status’ prevails too much, as she regrets.

The love of Brazil

“I have always believed in this country, a place where you can do many important things. I love Brazil. I married a Brazilian [José Roberto Marinho], I fell in love here. He is the father of my children, who are also from here. Today he is my ex-husband, but I continue to be a Carioca because of my passion. When I arrive in this country, part of my heart lights up. If the political situation can be improved, we must not forget that every country has problems. In life, you have to move beyond what is not working and focus on things that are productive and constructive. In Brazil, it is indeed possible to do very interesting things. We have many talented people. We have to move forward. Criticism without doing is not a solution. We have to work together, with flexibility, open-mindedness and ethics. Brazilian art has always been recognised as very important in the global context,” explains Frances with her calm tone that gives even more weight to her enthusiasm. When she speaks to you, her eyes fix you with a gentle gaze. It is one of her wonderful paradoxes, this woman who is always going at a thousand miles an hour never gives the impression of being in a hurry. She receives you with a reassuring availability. “I am very proud to help culture in Brazil. Culture is what will bring about change in this population. It is a neutral platform for dialogue: it cannot be elitist, but democratic, accessible to all,” she adds.

Always welcome to better unite

A great ambassador of the art world, she loves to bring together and welcomes with incomparable generosity artists, museum curators, collectors, gallery owners… all those who are the (other) driving forces of the art world. He seems to have no limits to his generous invitations. His various residences around the world have for more than 20 years been the venue for “salons” where it is good to meet. Biennials and fairs are privileged occasions to bring together local actors and those who come from outside. If sometimes the event takes place in a city where she does not (yet) live, then she offers a big lunch in a restaurant to bring everyone together, as is the case during the opening days of the São Paulo Biennial. It is part of an impressive list of committees and associations that link it to the most important international cultural institutions, which would be too long to list here. Let’s just mention Kings College, the Royal Academy, the Serpentine Gallery or the Tate Modern in London (where she used to live). She is also a member of the international circle of the Centre Pompidou and of course she can be found at MoMA in New York…

Her actions define her

But be warned, this cultural ‘activist’ may see red when one tries to describe her only as a philanthropist or collector. If her walls are covered with works, they are not exhibitionist accumulations but the celebration of friendships and encounters with artists she knows personally. Each piece reflects a memory, an occasion of an encounter with an artist, a testimony of one of her artist residencies, an exhibition she has organised... She is personally involved with all the actions carried out by her foundations and is certainly not a patroness who does charity to ease her conscience. Pure passion, what else?

An institute to support artists and curators

If she accepted the idea of this interview, it is above all to highlight her Institute, which bases all its initiatives on the valorisation of cultural diversity, also adhering to the United Nations’ sustainable development objectives. Through it, it aims to support the process of training artists at different stages of their career, through national and international residencies, the development of exhibitions and other artistic experiences and research programmes. More than thirty Brazilian and foreign artists, curators and academics have already benefited from its programmes. The list is impressive:

Leslie Sardinias (Cuba), Martin Creed (UK), Guler Ates (Turkey), Oscar Murillo (Colombia), Dalila Gonçalves (Portugal), Cristina de Middel (Spain), Jennifer Pattison (UK), Anna Franceschini (Italy), João Laia (Portugal), Christopher Page (UK), Chris Sharp (USA), Prem Sahib (UK), Milovan Farronato (Italy), Joanna Piotrowska (Poland), Germano Dushá (Brazil), Hans Ulrich Obrist (Switzerland), Amanda Abi Khalil (Lebanon), Ahmad Ghossein (Lebanon) Matias Duville (Argentina), Pablo León de la Barra (Mexico), Rodrigo Hernández ( Mexico), Maria do Carmo MP de Pontes (Brazil), Valeska Soares (Brazil), Gerda Steiner e Jorg Lenzlinger (Sweden), Yuko Hasegawa (Japan), Eduardo Navarro (Argentina), Diana Campbell Betancourt (USA), Lisa Le Feuvre (UK), Charlotte Prodger (UK), Ana Lira (Brazil), Matthew Lutz-Kinoy (UK), Maxwell Alexandre (Brazil), Manauara Clandestina (Brazil) and Xadalu Tupã Jekupé (Brazil).

Respecting differences

She believes deeply in the power of artists and the legacy they leave to society, as multipliers of artistic training, providing opportunities for young people who do not have access to the art world. It wants to promote the inclusion of different races, genders, cultures and sexual orientations. To include means to value, appreciate and respect these differences.

Promoting cultural exchange

Instituto Inclusartiz‘s residency programmes aim to promote cultural exchanges between Brazil and other countries in order to encourage collaboration between institutions, organisations and different cultural agents. It offers residencies in Rio de Janeiro and also in London, in partnership with the Delfina Foundation, which offers a three-month residency in London each year for a Brazilian artist. Selected artists can spend up to four weeks in Rio de Janeiro with personalised curatorial support and research assistance. The international residencies are mainly focused on research and project development.

Today, the institute has entered a new phase with the relocation of its headquarters to the Gamboa region, a port area in the heart of the city of Rio, corresponding with the opening of the Inclusartiz Cultural Centre, a socio-cultural and creative centre. Exhibitions and various cultural activities are already open to the public in a 1906 building of 600m².

A first exhibition highlighting indigenous culture

The first exhibition of Xadalu Tupã Jekupé (1985-), a mestizo artist from Porto Alegre who addresses the tension between indigenous and western cultures in cities in the form of urban art, presents bridges between the history of his Guarani Mbyá community and that of the Juruá (non-indigenous), transmitting knowledge and memories previously limited to orality.

All topics can be addressed

This exhibition is an opportunity to (re)see the concept of race as articulated by the Argentinean anthropologist Rita Segato (1951-), the result of a contextual reading of the body and its place in history. The curator, a descendant of the Guarani people, Sandra Benites (1951-), takes advantage of the opportunity to point out that there are currently 305 ethnic groups identified as indigenous in Brazil, but that it is necessary to investigate beyond the classification mechanism, in the face of race as a mark of the despoiled peoples, which is now re-emerging, thus underlining a politically ethnocidal policy The Institute is not afraid to tackle head-on the subjects that may disturb... some.

Some of her latest loves

Among her latest favourites? and above all the latest artists for whom she has become like a big sister who knows how to highlight them, we can mention Maxwell Alexandre (1990-), an Afro-descendant artist whose large compositions painted on paper stage stories and scenes structured from his daily experiences in the city and in the favela of Rocinha. After the 2020 version of the Lyon Biennial, he can already be found at David Zwirner or at the Palais de Tokyo. There is also Marcela Cantuaria (1991-). Her brightly coloured paintings mix historical images from the world of politics with representations of contemporary visual culture. Some of her visual inventions come from her research into women’s struggles around the world. Remember this name… you’ll be hearing about it!

What happens now?

What is she up to now? What new challenges will she like to take on? Will she turn to her former professional loves? And thus invent a cultural channel? She mentioned to us, without wanting to reveal what is still a secret, that a very ambitious film project would be in progress to celebrate the work of Maxwell Alexandre… What is certain is that we are waiting for the next episodes of an exciting soap opera in which Frances Reynolds knows how to keep us on the edge of our seats for years.

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