PROGRAM HIGHLIGHTS OF 2017 In 2017, thirty artists from sixteen countries received Fellowships to the Instituto Sacatar. Twenty artists were awarded Fellowships through our Open Call, when we valuateapplications from artists of all nationalities and disciplines. Through institutional partnerships, we offered additional Fellowships with restrictions by discipline and/or ationality:

PROGRAM HIGHLIGHTS OF 2016We initiated a program we call Sacatar Solo, which, by invitation, provides residency opportunities for established artists of international acclaim. Our first Soloist was performance artist extraordinaire Laurie Anderson. We hosted artists through ongoing institutional partnerships with: We also received a substantial grant from FUNARTE, the Brazilian Ministry of Culture, with which we organized an exchange of artists between the Instituto Sacatar and artist cooperatives in Acre (the Associação de Artistas Plásticos do Acre) at the far western reaches of the Amazon,

An exchange of artists across Brazil connecting regions outside the country´s major artistic and cultural axes. Brazil is a country of continental dimensions in which common characteristics permit its citizens to maintain a sense of national identity. Nonetheless, Brazilians often fail to recognize the great cultural diversity within its borders. Historical, political and geographic processes have naturally shaped the national panorama, ecologically, scientifically and economically as well as artistically, as evidenced in the contemporary arts. The major cities of Brazil, linked almost viscerally to similar

This is not the history, but the story of Sacatar, told in a patchwork of memories and dreams, by me, Augusto Albuquerque and by our founders, our partners and the many artists who have come to Sacatar.  This is Bahia. What I say may or may not be true, but it is the story as I tell it The original Sacatar is a place high in the Sierra Nevadas of California, the place where Mitch Loch and Taylor Van Horne began to dream of creating