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Women Artists in International Art Fairs (2015–2025) Visibility, Market Dynamics, and Advocacy By asheé staff The Presence of Women Artists in Major Art Fairs: Real Progress or Symbolic Correction? Over the last decade, the presence of women artists in the most influential contemporary art fairs -such as Art Basel, Frieze, TEFAF, and The Armory Show- has increased significantly. This shift reflects both structural changes in the art market and growing critical pressure addressing long-standing gender inequalities within the art system. For much of the twentieth century and the early twenty-first century, women were significantly underrepresented in galleries, museum collections, and international art fairs compared to their male counterparts. Between 2015 and 2025, however, a gradual transformation has taken place: more galleries have incorporated women artists into their programs, and fairs themselves have increasingly highlighted this effort to correct historical imbalances. Yet the key question remains whether this increase in visibility represents a genuine transformation of the market or whether it is, at least in part, a symbolic adjustment within existing institutional frameworks. The Evolution of Female Representation in International Art Fairs In the mid-2010s, several studies suggested that fewer than one third of artists represented by galleries were women. In that context, art fairs largely reproduced a deeply unequal market structure. Over the past decade, these figures have gradually moved toward greater parity. Today, roughly between 35% and 45% of artists presented by galleries at international art fairs are women, depending on the specific fair and market segment. This growth has been particularly visible in: curated sections or special projects solo presentations dedicated to historically undervalued artists programs developed by younger or mid-size galleries However, balance has yet to be achieved in the most commercially visible booths, where male artists continue to dominate. This imbalance reveals a structural tension: while institutional discourse promotes diversity and equality, the economic core of the art market still reflects historical hierarchies. Has the Market for Women Artists Also Grown? Visibility does not always translate immediately into economic value. Although sales of works by women artists have increased over the last decade, a significant gap in the market still persists. In the primary market -sales conducted directly through galleries- women artists today account for roughly 35% to 40% of total sales. At art fairs, the percentage is often slightly lower, particularly in the highest price segments. The secondary market (auctions) shows an even greater disparity. Despite several recent auction records and the rediscovery of historically overlooked artists, the total value of works sold by women remains a fraction of the market dominated by male artists. Several factors contribute to this imbalance: historical inequalities in the formation of collections lower museum representation during the twentieth century fewer works available in circulation on the market differences in promotional strategies among galleries and auction houses In other words, the current market still reflects institutional decisions made over decades. Members of the Guerrilla Girls in front of one of their early works, exhibited at the Victoria and Albert Museum. Activism and Institutional Critique: The Role of Feminist Art Movements The increased visibility of women artists cannot be understood solely as a natural evolution of the market. It is also the result of decades of activism and institutional critique within the art world itself. One of the most influential collectives in this process has been Guerrilla Girls, established in New York in 1985. This anonymous group of artists and activists became widely known for campaigns exposing gender and racial inequality in museums, galleries, and art collections. Their famous posters -many placed in public spaces near major museums- combined statistics with humor to highlight disparities. One of their best-known slogans asked: “Do women have to be naked to get into the museum?”, pointing out that while most nude figures depicted in museums were female, very few artists represented in collections were women. These interventions had a profound impact. By introducing quantitative data into public debate, the Guerrilla Girls forced museums, galleries, and art fairs to confront the structural inequalities embedded in the art system. Feminist Art and the Revision of the Canon The work of collectives such as the Guerrilla Girls is part of a broader tradition of feminist art that developed during the 1970s. Artists such as Judy Chicago and Miriam Schapiro promoted movements that directly challenged the historical construction of the artistic canon, exposing the systematic exclusion of women from the narrative of modern art. Since then, numerous curatorial projects, publications, and exhibitions have sought to recover overlooked artists and reconsider the criteria through which art history has been written. In recent decades, this historiographic revision has had direct consequences in the market: artists who were marginalized for years have been rediscovered and gradually integrated into museum collections, galleries, and international art fairs. Art Fairs and the Construction of the Contemporary Canon Art fairs are not merely commercial platforms. They also function as spaces of cultural legitimation where narratives about contemporary art are constructed. In this sense, the growing presence of women artists can be interpreted as part of a broader historiographic revision. Many galleries have recovered overlooked or underrepresented figures, integrating them into narratives that reshape the contemporary artistic canon. However, this process raises critical questions: Is the canon truly being rewritten, or are we witnessing a temporary correction? Do emerging women artists receive the same structural support as male artists? Will parity persist in the long term, or is it partly driven by market trends? For many curators, art historians, and artists, the answer depends on the art system’s ability to transform its structures, not just its discourse. Key Professional Demands of Women Artists Despite progress over the past decade, many artists continue to highlight persistent inequalities within the art ecosystem. Among the most frequent demands are: Institutional representation Artists call for greater presence in museum collections, international exhibitions, and curatorial programs. Market parity On average, works by women artists still sell for less than those of male artists in comparable categories. Access to top-tier galleries

The Role of Women Artists From Invisibility to Prominence By Estela Ferrer Raveiro Art history, as it has been told for centuries, has been dominated by male names. However, women have always created art. The difference has never been about talent, but about access, recognition, and the ability to sign and share their work. Exploring the role of women artists from Antiquity to the contemporary era means examining not only artistic styles and works, but also the social structures that shaped their visibility. Antiquity: Creating Without a Name In ancient civilizations such as Egypt, Greece, and Rome, women participated in artistic production mainly in areas considered “minor” or domestic, such as weaving, ceramics, and ornamentation. Many of these practices had high aesthetic and symbolic value, but were not recognized as “art” in the classical sense. Even so, there are notable exceptions. In Classical Greece, Timarete, a painter and daughter of an artist, is mentioned, and in Imperial Rome some women were acknowledged as muses, poets, or artisans. Nevertheless, female authorship was rarely recorded: art made by women was largely anonymous. The Middle Ages: Art as a Possible Space During the Middle Ages, convents became one of the few spaces where women could access education and artistic creation. Nuns and religious women contributed to manuscript illumination, sacred music, and writing. Figures such as Hildegard of Bingen stand out not only for their artistic output, but also for their intellectual and spiritual vision. Still, women’s art remained tied to religious and collective contexts. The idea of the “individual genius,” so central to Western art history, was still largely a male privilege. Renaissance and Baroque: Talent Within Limits The Renaissance marked major artistic development, but it also reinforced barriers for women. Access to academies, anatomical studies, and professional workshops was almost entirely restricted. Despite this, some women managed to forge artistic careers, often thanks to their family environment. Artists such as Sofonisba Anguissola and Artemisia Gentileschi demonstrated technical and expressive mastery equal to that of their male contemporaries. However, their careers were marked by the constant need for legitimacy and by interpretations of their work filtered through their gender. Sofonisba AnguissolaSelf-Portrait with Easel, 1556Oil on canvas, 66 × 57 cm.Lancut Castle, Poland Suzanne ValadonAfter the bath, (No Date)Museum of the Petit Palais (Geneva) 19th Century and Early 20th Century: Breaking the Silence With the arrival of modernity, women began to demand greater presence in public and cultural life. Although art academies remained exclusionary, more women artists participated in artistic movements and exhibitions. Figures such as Berthe Morisot, Mary Cassatt, and Suzanne Valadon were central to Impressionism and Post-Impressionism, though for a long time their work was considered secondary. At the same time, art became a tool to question gender roles and female identity. Contemporary Art: Visibility, Critique, and Diversity In contemporary art, women artists have achieved unprecedented visibility. The goal is no longer simply to occupy a place in art history, but to rewrite it. Artists such as Frida Kahlo, Louise Bourgeois, Cindy Sherman, and Yayoi Kusama have used their work to explore the body, identity, memory, power, and female experience from multiple perspectives. Moreover, feminism has driven a critical reassessment of museums, collections, and artistic narratives, exposing historical absences and inequalities. Today, the woman artist is no longer an exception, but a plural and diverse voice in dialogue with her time. Conclusion Art history cannot be understood without the women who have shaped it, often from the margins. Recognizing their role is not only an act of historical justice, but also a way to enrich our understanding of art and culture. From anonymity to recognition, from silence to self- expression, women artists have moved from invisibility to indispensability.

Art and wine A Timeless Dialogue Between the Senses By Estela Ferrer Raveiro Events Since ancient times, wine has been much more than a beverage. It has been a symbol, a ritual, a source of inspiration, and a cultural language. Its presence runs through the History of Art like a red—or rather, ruby—thread connecting civilizations, mythologies, and ways of understanding the world. To speak about art and wine is, in essence, to speak about a profound relationship between creation, pleasure, and community. In Classical Antiquity, wine found its ultimate embodiment in Bacchus (Dionysus), the god of wine, ecstasy, and fertility. His iconography is a celebration of the senses: bodies in motion, overflowing gazes, scenes of feasting and freedom. Greek and Roman artists understood wine as a gateway to both the divine and the human—a substance capable of dissolving boundaries and awakening creativity. It is no coincidence that Bacchus remained a recurring figure for centuries, reappearing with great force during the Renaissance and Baroque periods in the works of artists such as Caravaggio, Titian, and Velázquez. Diego VelázquezThe Drunkards or The Triumph of Bacchus, 1628–1629Oil on canvas, 165 × 225 cmMuseo Nacional del Prado, Madrid, Spain Renoir Pierre-AugusteLuncheon of the Boating Party, 1881Oil on canvas, 129.5 × 172.7 cmThe Phillips Collection, Washington, D.C., United States During the Middle Ages, although artistic focus shifted toward spirituality, wine retained its symbolic importance, especially in connection with Christian ritual. Later, in Flemish and Dutch painting, it reemerged in everyday scenes: taverns, family tables, still lifes. In these works, wine speaks of social status, morality, celebration, or excess, depending on the context. Every painted glass is, ultimately, a portrait of its time. With the arrival of modernity, wine freed itself from strict symbolic meanings and became part of contemporary life. Impressionist artists integrated it into urban scenes and intimate moments; the avant-gardes reinterpreted it through form, color, and abstraction. In modern and contemporary art, wine is no longer merely represented—it is experienced. It becomes concept, performance, and an excuse for encounter and dialogue. Today, current trends aim to dissolve boundaries between disciplines. Art, gastronomy, and wine converge in multisensory experiences where the viewer is no longer passive. Exhibitions that include tastings, installations that play with aromas, colors that evoke tasting notes, artists who work directly with barrels, bottles, or vineyard landscapes. Wine brings time, territory, and memory; art brings critical perspective and emotion. Together, they create fertile ground for conversation and conscious enjoyment. Linking these two worlds within the framework of an art exhibition is not only an aesthetic choice, but also a cultural one. Wine invites us to slow down, to observe more carefully, to share impressions. It breaks the ice, awakens the senses, and encourages dialogue. In this context, the artwork is perceived differently: more approachable, more human, more alive. The tasting thus becomes a natural extension of the artistic experience. Because in the end, both art and wine speak of the same thing: the desire to understand andcelebrate life. Wine Tasting – “Chronicles of Color” Exhibition Date: Thursday, February 19Time: 18:00 – 20:30Location: Regus West Zürich, Badenerstrasse 549, 8048 Zürich, 1st Floor

Color in Art Color has been much more than an aesthetic resource… By Estela Ferrer Raveiro asheé gallery Throughout the history of art, color has been much more than an aesthetic resource: it hasfunctioned as a symbolic, emotional, and cultural language. Its treatment has changed accordingto historical contexts, belief systems, technical advances, and the expressive intentions of each period. In prehistoric art and early civilizations, color had a strong symbolic and ritual character. Naturalpigments such as ochre, black, and white were used to represent life, death, the sacred, or power.In Egyptian art, for example, colors were strictly codified and were not meant to achieve realism,but to convey eternal ideas and hierarchies. During Classical Antiquity, color began to interact with form and proportion, although for centuries the mistaken idea of pure white sculpture prevailed. In the Middle Ages, color regained its symbolic value: the intense golds, blues, and reds of stained glass and illuminated manuscripts sought to create a spiritual experience rather than a naturalistic representation. With the Renaissance, color was placed at the service of the illusion of reality. Light, perspective, and chromatic harmony were essential to constructing believable images. Later, in the Baroque period, color became dramatic and contrast-driven, intensifying emotion and tension through chiaroscuro and deep palettes. A major turning point came with modernity. The Impressionists freed color from its descriptive role and turned it into a tool for capturing light and subjective perception. Later, the 20th century avant-gardes—such as Fauvism, Expressionism, and Abstraction—pushed color into an autonomous realm, capable of conveying emotional states, ideas, and concepts without the need to represent reality. Robert SchwanderThorn Red, 2025Oil on canvas50 x 70 cm Domecq ArteagaFrühlingsherz, 2025Acrylic on canvas70 x 83 cm Color in the Current Exhibition The current exhibition engages in dialogue with this entire history and reinterprets it through a contemporary lens. Here, color does not merely accompany form but becomes the protagonist: it structures space, generates atmospheres, and activates the viewer’s experience. The works explore color as matter, as energy, and as discourse, inviting us to feel before we rationally understand. In this journey, color acts as a bridge between tradition and innovation. It resonates with its historical weight while simultaneously breaking free from fixed rules, opening itself to personal and sensory interpretations. The exhibition reminds us that color remains one of art’s most powerful tools for provoking emotion, reflection, and connection. Thus, far from being a decorative element, color presents itself as a living language, capable of adapting to each era and continuing to transform the way we see the world.

Meet the Artists in Zurich | The Mind Behind the Artwork Asheé Art Gallery By Katherine Pérez events Ever wondered what the artist was thinking? On November 27th, experience a unique artist talk. Meet the creators from our exhibition, discover their stories, and engage in a dialogue about art. Free admission. Beyond the Canvas: Discover the Voice Behind the Art in a Unique Artist Meetup Art is, above all, a dialogue. A painting, a sculpture, or an installation speaks to us from the wall, evoking emotions, questions, and sometimes, unexpected answers. But what if you could sit down with the one who created that piece and ask them: “What did you truly mean to say?” At Asheé Art Gallery, we believe the artistic experience doesn’t end with contemplation. It is enriched by conversation, by human connection. That’s why we are delighted to invite you to an exceptional event: an intimate meetup and talk with all the artists from our current group exhibition. It will be held on November 27th at our venue in Zurich. Honys TorresLuis Donald de Disney, 2021Acrylic on canvas90 x 90 cm Tina BehnstedtAudrey and FlowerMixed media, collage printed oncanvas with acrylic.60 x 80 cm. The Mystery Solved: Intention vs. Interpretation One of the most fascinating dynamics in art is the gap—sometimes small, sometimes a chasm—between the artist’s intention and the audience’s interpretation. You, as the viewer, bring your own history, experiences, and sensibilities to the artwork, creating a unique and personal meaning. But how does that compare to the initial spark that ignited the creation in the artist’s mind? At this meetup, you will have the rare opportunity to: Hear first-hand the stories, creative processes, and concepts that shaped the works you admire in our gallery. Uncover the “why”: Why that color palette? Why that material? What personal or social experience was the artist aiming to capture? Understand the technique: Discover the challenges and innovative solutions behind each piece. A Live Dialogue: When Art Comes to Life Reading a description on a plaque is one thing. Hearing the passion in the artist’s voice is another. This event will not be a formal lecture, but an open and dynamic conversation. A space where you can: Ask your questions: Is there something you’ve always wanted to ask an artist? Now is your moment. Break the invisible barrier between the creator and the viewer. Contrast perspectives: Share your own interpretation and discover if the artist envisioned it similarly or if they surprise you with a completely different viewpoint. This is where art truly comes alive, at the intersection of different gazes. Connect with the art community: Meet other art lovers, collectors, and critics. Enrich yourself with a vibrant and stimulating exchange of ideas. A Unique and Unrepeatable Opportunity Gathering the entire roster of artists from a group exhibition is a rare occasion. It is the perfect moment to deepen your understanding of contemporary art, to invest in your personal culture, and perhaps, to find that emotional connection with a work that transforms it from a decorative object into a meaningful piece for your life or collection. Don’t let others tell you about it. Experience it fully. Event: Artist Meetup and Talk with ArtistsDate: Thursday, November 27, 2025Time: 19:00 – 21:00Location: Asheé Art Gallery, Regus 1st. Floor. Badenerstrasse 549, CH-8048 Zürich WestAdmission: Free. Limited capacity. PangoDe la serie Casi felices, 2024 Mixed technique on fabric Federico GuerreroNatural Madness, 2019Acrylic on canvas50 x 70 cm.

Emerging Latin American Artists You Should Follow Now By Estela Ferrer Raveiro Asheé Art Gallery Latin American art is experiencing a new wave: young, bold, and deeply rooted in both heritage and the digital present. At Asheé Gallery, we believe that discovering emerging talent is investing in the future of art. Here are five names redefining the scene: María Conejo (Mexico) – With an intimate and powerful line, she explores the relationship between body, identity, and contemporary femininity. Andrés Pereira Paz (Bolivia) – Fuses Andean mythology and political critique in installations that dismantle colonial narratives. Daniela Ortiz (Peru/Spain) – Her work blends activism and performance to expose structures of power and exclusion. Adriana Minoliti (Argentina) – Through digital painting, she creates queer, geometric worlds where color becomes language. Diego Machado (Brazil) – Between urban muralism and digital graphics, his work refreshes Brazilian modernism with a contemporary twist. Different in technique but united in intensity, these artists confirm that Latin America remains an inexhaustible source of visual innovation. Andrés Pereira Misterios: Amaru (navegar por múltiples dimensiones), 2022Tapestry embroidered with objects from the workshops ‘Los Castillo, Joyas de Tiahuanacu, Salvador Terán and others’120 x 150 cm. Adriana MinolitiTríptico, 2010Oil, acrylic and enamel on canvas210 x 70 cm each one. Surprising Similarities Between Pre-Columbian Art and Contemporary Swiss Design At first glance, they may seem worlds apart—one ancient, the other minimalist—but Pre-Columbian art and Swiss design share more than you might think: The power of the symbol: From Andean textiles to Bauhaus or Helvetica logos, geometric form conveys pure meaning. The pursuit of balance: Maya or Moche ceramics show mathematical precision comparable to Swiss composition—nothing is missing, nothing is superfluous. Aesthetic functionality: In both cases, art is not mere ornament but an extension of daily life—be it a ceremonial vessel or a typographic poster. This affinity reveals that cultural distance can be deceiving: beauty, when born of coherence, speaks a universal language. The Colors of Latin America and Their Meaning in Art Color in Latin American art is not mere decoration—it is language, emotion, and history. From Frida Kahlo’s deep blues to Cruz-Diez’s vibrant yellows, the continent’s palette tells centuries of blending and resistance. Red: passion, blood, life—but also protest. Blue: spirituality, the sea, introspection. Green: enduring nature, a symbol of hope. Yellow: light, energy, tropical vitality. Artists across the region use color as a manifesto: each stroke evokes identity, memory, and a desire for transformation. At Asheé Gallery, we celebrate this chromatic force that makes Latin American art a full sensory experience—capable of illuminating any space.

Cultural Connection Latin America in Zurich By Estela Ferrer Raveiro Asheé Gallery Zurich breathes minimalism: pure lines, neutral tones, spaces seeking serenity. Yet when Latin American art bursts into this city, a fascinating dialogue unfolds: the color, texture, and vitality of the Caribbean contrast—and simultaneously enrich—the Swiss aesthetic. The European eye faces a stimulating challenge: how does the chromatic intensity of a Caribbean piece coexist with the white, sober order of a Zurich gallery? What seems like opposition becomes complement. Swiss minimalism acts as the perfect canvas for Latin American art to unleash its power, inviting the viewer to step out of calm and into vibration. The Legacy of Frida Kahlo in Contemporary Art A clear example: the echo of Frida Kahlo in young artists. Her exploration of pain, identity, and the body continues to inspire, now reinterpreted through new Latin American lenses. Exhibited in Zurich, these works not only carry Frida’s memory but also highlight the universality of suffering and resilience—now engaging European audiences who find in them an unexpected mirror. Marcia SchvartzMi vida es un tango, 1994Oil on canvas.130 x 115 cm. Magali LaraNaturaleza Muerta, 1986Acrylic on canvas120 x 120 cm. Collector’s Guide: Modern and Contemporary Latin American Art Many collectors in Switzerland still feel uncertain when approaching Latin American art. Onekey is to recognize its stages: Modern: marked by the intersection of tradition and avant-garde, with figures likeWifredo Lam or Torres García. Contemporary: diverse, hybrid, deeply connected to current social and political debates. García. Understanding these nuances allows one to appreciate not only aesthetic beauty but also the cultural and symbolic weight of each piece. Language is also a bridge. Knowing terms like chromatism (Farbigkeit), engraving (Radierung), or installation (Installation) creates an immediate connection between cultures. Speaking about art in both languages is not just practical—it’s a gesture of respect and openness. The richness of Latin American art is not confined to geographic borders. In Zurich, its presence becomes a unique differentiator: a reminder that color, history, and memory can also inhabit the most minimalist spaces.