Notes related to Pinta

In its new edition, Pinta Miami reaffirms its role as a vital anchor of Miami Art Week. Curated by Irene Gelfman, the fair presents three projects that explore—through distinct approaches—the shifting relationships between landscape, identity, and collective experience.

With Special Projects, the Sculpture Garden, and the FORO program, the fair stands as the key meeting point for Latin American art during Miami Art Week.

By Violeta Méndez

In its 2025 edition, the fair unfolds a terrain of questions and encounters. Curated by Juan Canela, NEXT proposes pairings of artists and galleries that explore how we inhabit, name, and imagine the region, articulating new ways of thinking about the contemporary from Latin America and the Caribbean.

By María Galarza

To tell, narrate, or curate always implies a perspective. From where one speaks, to whom one speaks, and which points of support are chosen when conceiving an exhibition—when designing a story. Irene Gelfman is an Argentine curator, art critic, and cultural manager. She trained as an art historian and curator. Today, she is the global curator of Pinta.

By Violeta Lozada

Art Week opens its doors next week and Miami begins to beat differently. There’s a pulse you can feel while walking through the fairs—a mix of curiosity, intuition, and discovery.

By Violeta Méndez

Among jaguars, giant flowers, and living ceramics, Nicola Costantino unfolds a universe where technique and concept seek each other out. From initial rawness to a beauty guided by nature, her work continues to evolve like an expanding jungle.

A leading platform for Ibero and Latin American art, the fair brings together galleries, curators, and emerging talents for a dynamic edition shaped by new voices and cross-regional perspectives.

The event presents its final 2025 edition: an invitation to enjoy contemporary art tours across the neighborhoods of San Telmo and La Boca.

By Violeta Méndez

The fair opened its 21st edition with a program that celebrates photography in all its forms — from the sensitive “skins” of Marina De Caro to the gazes of those who inhabit the streets, and the trajectory of the FotoGalería at Teatro San Martín.

By Violeta Méndez

Blurring the boundaries between image, performance, and experimentation, projects by Gustavo Nieto, Nicola Costantino, and Donna Conlon stand out in a new edition of Pinta BAphoto, returning to La Rural with proposals that expand the scope of photography today.

By María Galarza

Through the exploration of the intersections between image, body, and discourse, Guad Creche (Salta, Argentina, 1985) positions their curatorial gaze on the performative potential of photography.

By Violeta Méndez

Both the exhibited and the stored works draw attention in Matilde Marín’s studio. On the walls, her emblematic photographs steal the gaze, but so do the wrapped and labeled folders on her tables, the boxes full of books on the floor, and the stacks of files on her shelves. The image completes itself with her voice, the one that explains why the archive, too, is a protagonist.

By María Galarza

Editor and curator, Sol Echevarría created Espacio FAN as a meeting ground between the editorial and the visual. There, books become a territory for experimentation, and artworks become ways of reading. A project that champions collaboration, critical thinking, and cultural resistance in times of retreat.

By Violeta Méndez

Simple, yet with complex movement, the artist managed to capture what his sensitive eyes perceived, and today his name is part of the local art history as a reference in photographic portraiture.

The event celebrates its 21st edition with a diverse program that spans photography through curatorial, performative, and editorial approaches, intertwining “the material with the immaterial, the intimate with the collective.”

Organized by Pinta in collaboration with Meridian International Center, CAF – Development Bank of Latin America and the Caribbean – and CC LATAM, the exhibition brings together works by artists from seven countries addressing themes of identity, territory, and memory, reaffirming the value of art as a tool for regional integration.

With a solo exhibition by Fernando Allen and a group show featuring five regional artists, Casa Ardissone brings to the forefront the tensions between territory, memory, and the ecological urgency of the Paraguayan Chaco.

From September 10 to 13, Asunción hosts the final edition of Pinta Art Week, with a program that brings together museum and gallery openings, a network of cultural institutions, and a FORO that fosters reflection among local and international voices.

Christian Ceuppens and Carolina Noguera present at Viedma Galería de Arte an exhibition that merges tradition and design, exploring the connection between Tobatí’s ancestral ceramic knowledge and a modern architectural vision.

By María Galarza

Galleries, installations, talks, collections, exhibitions, institutions, celebrations, and visits to artists’ studios. All this, and more, is brought together in the three editions—and an upcoming fourth—of Pinta Asunción, where every initiative aims to expand and connect a country’s artistic ecosystem. Under the curatorship of Irene Gelfman and Adriana Almada, the goal over the years has been to enhance the cultural industry and exercise the muscle of openness to the world.

Since 2022, Art Week has offered unique moments and special activities that have helped illuminate the Paraguayan artistic ecosystem.

From September 10 to 13, Pinta Asunción celebrates its fourth and final edition. Conceived as part of Pinta’s Art Weeks structure, the initiative was extended one more year at the request of the local art community, opening new opportunities for collaboration in Paraguay.

By María Galarza

For over four decades, Mónica Kupfer has been researching, writing, and curating exhibitions that seek to tell a story of Panamanian and Central American Art that is still under construction. She played a key role in the first edition of Pinta Panamá Art Week, where she coordinated FORO—a regional discussion platform that brought together artists, curators, collectors, and institutions.

Pinta, the leading platform for promoting art from Latin America and Central America, launches FORO On Demand, a new format that makes its conversations accessible anytime, anywhere.

Pinta Asunción Art Week, formerly known as Pinta Sud | ASU, will take place this year from September 10 to 13, marking its fourth edition. With its extensive contemporary art and cultural programming spread across the city, the event invites attendees to discover an ever-growing artistic scene alongside Paraguay’s unique cultural, culinary, and tourism traditions.

With its inaugural edition, Panama Art Week stepped onto the contemporary art stage not as a marketplace for immediate transactions, but as a catalyst for long-term cultural positioning. 

The first edition of Pinta Panamá Art Week was a collective celebration that transformed the city into a major stage for contemporary art and Central American culture. The event welcomed over 650 attendees at its official opening and thousands of visitors throughout the week, with daily activities including exhibition openings, talks, guided tours, and urban experiences. The week was marked by a strong commitment to strengthening and valuing local identity.

A selection of events, activities and cultural proposals bring together artists, curators, collectors and specialists in different parts of Panama City. Pinta Panama Art Week proposes an ambitious agenda from May 21 to 25 with the best of contemporary art in the region.

MAC Panamá's Chief Curator Juan Canela, reflects on the challenges of curating in Central America, the value of collaborative practices, and the context of Panamanian art. He is participating in the inaugural Pinta Panamá Art Week, running May 21–25 with activities centered on the local art scene.

Despite its rich, diverse artistic production with deep historical roots, Panama's art market remains limited. With fewer than ten active galleries and no fully established art fair to date, the country’s artistic ecosystem is still in an early stage of development. However, creative energy is clearly present, and 2025 could mark a turning point.