MÓNICA KUPFER: “IT’S NOT ENOUGH TO EXHIBIT ART, WE NEED TO WRITE ITS HISTORY”

The artistic production of a country—and of a region—does not stand on its own. It requires work, archives, institutions, and the will to pay close attention. Mónica Kupfer has been doing just that for years, through curating, criticism, and research. She founded and directed the Panama Art Biennial, and was co-curator of the country's first national pavilion at the Venice Biennale. In the inaugural edition of Pinta Panamá Art Week, held in late May 2025, she coordinated FORO, a space for conversation among art professionals. In conversation with Arte al Día, she reflects on milestones, questions, and the challenges of a long-term artistic practice.

How has your curatorial vision evolved over the years, from your early exhibitions to your recent projects?
The first major exhibition I curated was in 1983. It was a retrospective of renowned Panamanian painter Juan Manuel Cedeño (1915–1997), held in the recently inaugurated spaces of the Museum of Contemporary Art of Panama. The research was supported by abundant primary materials: documents, interviews, photographs, among others. Cedeño was a central figure in Panamanian art and teaching, but he had only one solo exhibition in his lifetime, in 1955.

Many years and multiple curatorial experiences have passed, but my interest in a historical approach remains. I am motivated to curate exhibitions that contribute to documenting the history of art, both from an individual perspective—the trajectory of each artist—and from national and regional points of view. My doctoral training in Art History has certainly been a consistent guide in that regard.

At the same time, I’ve had the privilege of meeting and supporting emerging artists whose careers I’ve seen evolve over time. I enjoy exploring recent artistic production, with all its possibilities and promises, as well as the challenge of staying current. Through the eight editions of the Panama Art Biennial (held between 1992 and 2008), I had the opportunity to support artists who, at the time, brought fresh approaches to the national art scene.

You were co-curator of Panama’s first national pavilion at the 2024 Venice Biennale. What did this debut mean for you and for Panamanian art?
Being co-curator alongside Ana Elizabeth González—director and chief curator of the Museo del Canal—and being part of the team with such valuable and creative people as Mariana Núñez Haugland and Luz Bonadies, who made the presentation of Panama’s first national pavilion at the Venice Biennale possible, was an unparalleled experience and a turning point in my career. It required immense effort, but it was worth it in every sense. The pavilion received more than 45,000 visitors—likely more than any other Panamanian art exhibition in our history.

It was an extraordinary achievement for Panamanian art and for the country’s visibility. Presenting ourselves to the world through culture—with notable artists and works that addressed a globally relevant theme like migration—was incredibly valuable. Abroad, we are often known primarily for the Panama Canal, but this exhibition proved that we have much more to offer in the cultural sphere.

What role does historical memory play in current Panamanian art, and how does it interact with contemporary practices?
Panama is a nation with just 122 years of independence, and during a great period, it hosted a U.S. enclave within its territory. In the 19th century, we were part of Gran Colombia, and before that, a Spanish colony. Our role as a transit point between North and South America, and between two oceans, has deeply shaped our identity. The search for a sense of identity remains a central theme for our creators—whether in visual arts, literature, or theater—and it likely will continue to be.

What role do you think the figure of the curator occupies today in Central America, particularly in Panama?
The curator plays a crucial role in the development of the arts in Panama and Central America. Throughout much of the 20th century and the early 21st, our countries lacked a strong cultural infrastructure. In this context, curators—both institutional and independent—have been essential in promoting art: organizing exhibitions, conducting research, supporting biennials, fostering international exchange, and producing publications and archives on regional artistic development.

Cultural actors in this region deserve recognition for their dedication to artistic institutions, curating collections, and building collaborative networks—often working with very limited resources. While there has been progress in Panama and the region, those who engage in curatorial work still do not receive the recognition or compensation they deserve.

What new perspectives emerged from FORO in relation to curating, collecting, or the role of institutions?
Despite geographic proximity, cultural actors in Central America have few opportunities to come together, exchange ideas, and share knowledge about the region. FORO at Pinta Panamá Art Week provided an ideal framework for such a gathering. It brought together curators, cultural managers, collectors, and artists—including international visitors with little prior knowledge of Central American art.

Among the participants were well-known experts such as Gerardo Mosquera, Julia Morandeira, Juan Canela, Ana Elizabeth González, María Sáncho-Arroyo, Emiliano Valdés, and Sofía Villena Araya. Also present were collectors and directors of Panamanian galleries and foundations such as Nivaldo Carbonell, Johnny Roux, Antonio Murzi, and Johann Wolfschoon. Institutions were represented as well, including TEOR/éTica from Costa Rica, the Cader Foundation for Central American Art at the Museo Reina Sofía in Madrid, and the Mercantil Group’s art collection; and from Panama, the Museum of Contemporary Art, the Canal Museum, the Los Carbonell Foundation, the Casa Santa Ana Foundation, and Diablo Rosso Gallery.

There is no doubt that Pinta Panamá Art Week fostered intellectual exchange and enabled the formation of new networks for collaboration. Each of the FORO sessions drew large audiences, with people showing strong interest in a range of topics—from the art market and collecting to Latin American curatorial practices from different perspectives.

What thoughts or impressions did you take away from Pinta Panamá Art Week? Was there any FORO session that particularly stood out to you?
Pinta Panamá Art Week created a moment of great enthusiasm for the arts in the country. From the opening at the Ciudad de las Artes, organized by the Ministry of Culture, to informal meetings between collectors, artists, and curators, there was a vibrant atmosphere throughout. The exhibitions in the country’s main galleries formed a dynamic circuit and gave Panamanian artists the opportunity to show their work to both local audiences and international visitors.

FORO, made up of four sessions over three days, energized dialogue between speakers and attendees. Venues reached full capacity, whether at MAC Panamá, the Centro Cultural de España, the Mercantil auditorium, or the Museo del Canal.

What challenges excite you today as a curator and researcher?
The list is long! There is still so much to research, write about, curate, and exhibit. The history of art in our region still needs to be documented—in books, digital media, or whatever formats the future holds. It’s not enough to exhibit art, we need to write its history. We need to continue generating projects, both national and regional exhibitions, as well as studies that give space to both well-known and historically marginalized artists.

At the moment, I’m writing a book on selected works by Panamanian artists from the permanent collection of MAC Panamá—the country’s leading art institution. Founded as the Panamanian Institute of Art in 1962 and transformed into a museum in the 1980s, MAC has now existed for over sixty years, making it urgent to produce a publication that disseminates its collection both locally and internationally.

This year, I’ll also be participating in the symposium Diálogos del Istmo, organized by Centro Espacio Arte, under the theme Reconfiguring the Canon: New Routes for Latin American Art, which is generating a lot of anticipation. It will take place in September and will feature experts from Guatemala, Mexico, Paraguay, Spain, the United States, and Panama.