How Regina Pinho de Almeida put together an “atypical” collection, with works by great artists: “I didn’t take it seriously”

— There are artists with varied profiles. Some represent the political situation or things in the world. Others focus more on the formal question of techniques and work on the question of art itself. In collections, it’s the same: everyone pursues their own vision. And I didn’t take it very seriously. I wanted things a little more different or with a touch of provocative humor — says Regina, in an interview via video call.

She thinks it may be precisely this “not taking yourself seriously” that explains why her collection attracts so much attention. Her collection, which includes works by names such as Marcel Duchamp, Cildo Meireles, Edith Derdyk and Augusto de Campos, is divided into three exhibitions currently presented at the Casa de Cultura do Parque (which reopens on January 7, after the end-of-year holidays), a space created in 2019 by the businesswoman herself in the same Alto de Pinheiros.

“I notice a lack of pretension”

The exhibitions are organized by Claudio Cretti and Tetê Lian. The duo searched the collection in search of works inspired by three thematic axes: “Sound and Fury”, which starts from mechanized works, in which several emit sounds; “Balad for a Spectrum” brings together works linked to the world of books and texts; and “Corpo-a-corpo”, in turn, addresses the presence of human matter in art, with the socio-cultural contexts that permeate it.

—One of the things that’s different about Regina’s collection is that when you have this more speculative association, you expect certain types of works or artists to be present. Lots of paint, for example. And in her there are many other things that not all collectors generally want to collect, both for maintenance reasons and because it is difficult to store this type of works — observes Lian.

— There are very young artists, who have never had a definitive entry into the artistic system, but whom she buys. If she likes it and can, she will buy it without even speculating on this name, trying to find out if its value can increase in the future. It’s something she really enjoys. I notice that Regina shows simplicity with her collection — he said, adding: — Regina’s house, where the collection is located, almost looks like an exhibition.

The taste for art runs in the family. The poet Tácito de Almeida, her grandfather, participated in the Modern Art Week of 1922. Her father, Flávio Pinho de Almeida, was director of the São Paulo Museum of Modern Art in the 1970s. She herself worked in galleries and participated in the board of directors of institutions such as the Masp.

Regina began investing heavily in her collection when she won part of the sale of a farm in Paraná in 2005. That’s when she really entered the world of the arts, she believes. She also began negotiating the work of artists in her social circle. He then went to work in a gallery. But that still wasn’t exactly what he wanted to do.

Regina says that the creation of the Casa de Cultura do Parque — as well as the Institute of Contemporary Culture, responsible for coordinating the space’s artistic projects — was the means found to broaden access to her collection.

— I didn’t plan to get married and become a farmer’s wife. I also didn’t want to start a new gallery because the truth is, I’ve always loved going there, says Regina. — There were virtually no private institute formats to copy. The curators I called didn’t really understand the project and I always had prejudices from the USP people: “Ah, it comes from Regina’s station wagon and I don’t know what, I can’t get involved.” They didn’t even go to SP-Arte because they didn’t frequent the art trade. It took me a long time to find people to help me.

Today, while the House is established and established itself in the public’s (and artists’ and galleries’) journey, Regina sees that her project is bearing fruit. All alongside the people who have always supported her and who have contributed to bringing this initiative to life.

From now on, the collector has the impression of slowing down, even in relation to the social agenda that she frantically maintained in the past to promote her actions around art:

— Due to my age, I spend more time at home watching Netflix. I have a natural relationship with artists, but not so much socially. Today, it’s less.

Regina, however, says she hasn’t lost her hand in helping artists: