![]() ![]() In this way, the cultural circuit of the city is activated holistically to offer visitors the most complete local and international experience. In line with Pinta PArC’s cultural commitment, the most relevant art institutions in Lima will offer exhibitions in special agreement with PArC. In addition, the AUDITORIUM program will be carried out by prestigious curator Miguel López, who establishes an international platform for conversation and debate on the changing dynamics of artistic, curatorial, research, and editorial production and the forms of collecting in Latin America in the last years. ![]() This year, Pinta PArC will also feature its MEDIA POINT program, coordinated by Verónica Santalla, where face-to-face and virtual activities will be scheduled, such as interviews with artists, gallery owners and collectors, a cycle of Masterclasses and Open File videos in which artists share details about their artworks. PINTA PArC 2022 will feature in its MAIN SECTION the participation of 45 galleries with great local and international experience, in addition to two sections: SOLO PROJECT curated by Oscar Roldán and the NEXT section, where Florencia Portocarrero presents six emerging galleries with relevance within of the contemporary scene, focusing on the youngest artistic production in the region. Pinta PArC, positioned among the most relevant cultural exchange platforms in the region, can be visited at Casa Prado (Av. Integrated into the Pinta universe, the most relevant international art fair in Peru is characterized by an ambitious experimental program and a selection of galleries with diverse and more contemporary proposals than ever. If strength really is in numbers, maybe New York, a Latin American city, will finally see what it has been missing all this time.īut why wait a year? Check out Pinta, and start to get smart now.The ninth edition of PArC, Peru Arte Contemporáneo, will take place between April 20th and 24th, 2022. In any case all such balances could shift next year when, if things go as planned, the fair will increase the size of its exhibition space and, presumably, the number of participants. ![]() And it is hard not to see a direct correlation between the playing down of such content and the current spurt of interest in Latin American work by the New York art world mainstream. Notably sparse, however, is overt religious or political imagery of a kind that still defines contemporary Latin American art for many people. (Don’t miss the witty and moving 2007 video by Liliana Porter at Hosfelt Gallery.) Pinta has its share of new art too, with up-to-the-minute work by Alexandre Arrechea, Eugenia Calvo, Arturo Duclos, Darío Escobar, Nicolas Guagnini, Marco Maggi and Damián Ontiveros Ramírez scattered here and there. And something like this spirit survives into the present in paintings by Fanny Sanin and Tony Bechara at Latin Collector, of recent date but in classic abstract geometric style.Īt the same time “classic” is defined many ways in Latin American art: by a spidery 1962 León Ferrari ink drawing at GC Estudio de Arte by figurative paintings by Wifredo Lam at Treart by a booth full of Xul Solar watercolors at Rubbers International Gallery and by the marvelous etchings by Gego (Gertrude Goldschmidt, 1912-94) at Cecilia de Torres, a gallery that, along with Mary-Anne Martin Fine Art (not in the show), has long been one of the city’s primary showcases for Latin American material, old and new. At Leon Tovar there’s a subtly kinetic piece by Jesús Rafael Soto (1923-2005) the slightest breeze will set its curtain of dangling rods into optically shimmering motion.Ī 1952 sculpture in clear plastic by María Freire at Sammer Gallery Miami is exemplary of the soaring utopianism of a heady era. Durban Segnini Gallery of Miami has abstract pieces, including a kind of tabletop tower with a curling window from 1967 by Eduardo Ramírez Villamizar, a mini-Frank Gehry before Frank Gehry came into his own.
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