So how do you define after these years the national market?
AM: I define a market as being very small, which complicates the work of gallery owners and artists. Artists cannot claim to have a solo exhibition every year, is too limiting in terms of sustainability and its own existence, because they simply stagnate on the market, it forces them to participate more in group exhibitions and go out. Also is a market where there are many pre-established a priori ideas, collaborations outside, participation in fairs and work with international spaces, will always be good inside. Then I think, it gives up too much importance to art critics, which is an almost non-existent practice, we have very few, but there is a kind of consultants and a certain elite that ultimately command the artists, especially the collections and state investments deciding which artists have a good future and which are a good investment and that is dope.
It has been one of the reasons why these have become itinerant exhibition right way?
AM: No, as a matter of necessity. I often say that the necessity is the mother of invention and it happened because it was 40 square meters and wanted to do bigger and do group exhibitions. It was very difficult in this area and work with these dimensions and it was this reason that led me to make exhibitions outside. The first one was in 2005 in Granada, was an invitation, presented 7 artists in what was a crazy journey, prepared everything in two weeks. The reason I go out of the country, or of Lisbon, is the need for new spaces, larger, allowing new proposals. It also has a side of curiosity, trying to understand how people who do not know the artists, the gallery and my work how they react, how the interpret and the questions they ask, is an almost virgin glance. We had a very curious case when we were in Bucharest, with Claudio Garrudo in an exhibition called "borderline" when there was a series of portraits, self-contemplation, he was placed in extreme situations, for example in a morgue, simulated to a suicide and what happened? People who saw that exhibition in the gallery and who know me have a certain reaction, which was completely different in Romania, where neither realized in some cases it was even the artist, had an approach and relationship completely diferent with the photo, were not seeing Claudio Garrudo, the person. This was very interesting and enriching.
Now that you spoke of exhibitions outside Portugal, what is your perception of the market?
AM: There is a very pragmatic aspect to take into account when making exhibitions outside is very difficult to sell. This is therefore a premise that you must have this much, why? You do not sell at least at first, because the purchase of an art object also involves rightly so and I speak against me, a knowledge and an involvement, or there's an impulse buying, like, tha person falls in love and already buy's, or else enjoy's viewing an exhibition, then you want to see another and want to follow the artist's work. The first times you go abroad is very difficult to sell also when I invite foreign artists to expose in the gallery. However, there is much curiosity in both the Czech Republic, as in Romania who state curiosity in relation to our culture and artists, people have a genuine interest, because it is part of their education and their everyday lives, there are even eager to know and if the artists goes is even very good because precipitates that contact with the public.
And in the more traditional markets of art, you cannot penetrate?
AM: I ended up with these countries mentioned by emotional issues, because I met a Romanian curator and another Czech and come out of nowhere is more difficult. There must be a local point of contact and this that will open the doors, so the reason I have been talking with the Czech Republic and Romania is not strategic, not something thought, it just happened, we were developing these partnerships and also do not care to go to many places at once, because in terms of profitability is very difficult, interests me go deepening my relationship with these two countries, because the Romanian gallery owner is an absolutely extraordinary person, in cultural terms and a sensitivity out of the ordinary and the Czech curator also. Maybe in two or three years I will develop other geographies.
What are the plans for the gallery Salgadeiras for this year?
AM: This year is very conservative year so to speak. I've done 102 exhibitions, I am centennial. Last year we changed our space and this year will focus on me even in the new area, the exhibits that I will present, I'm already preparing the year 2016 and continuing international collaborations. I'm going out a lot less of Lisbon, the only exceptions were commitments already made to the House of Seedlings, Calheta and in Bucharest, other than that, I want to stay in the new house and work. Because it's very important to be present in the gallery, is also a new area for me, I have to see how it works, the light is different, the space is different, the volume is huge compared to what I had previously and now I have to be there to see how it all works in summer, in winter, with rain, sunny days, issues that the previous space did not arise, I almost did not need to be there, I assemble exhibitions with my eyes closed, not now, is all new.