Pinta Lima 2025 - Curators - Galleries

PINTA LIMA 2025 - 12th Edition

Casa Prado, Lima, Peru

April 24 - 27, 2025 

Casa Prado, Lima, Peru

Photo courtesy of Pinta Lima

Pinta Lima 2025 is part of the international Pinta platform, a leader in promoting Latin American and Central American art, along with other contemporary art fairs such as Pinta Miami and Pinta BAphoto. It also includes special initiatives like Pinta Asunción Art Week and, this year, Pinta Panama Art Week. Supported by Arte al Día, its editorial founded in 1980, Pinta continues to expand its global network, celebrating the art and culture of the region.

Pinta Lima is the most important contemporary art fair in Peru, presenting in its 12th edition a solid program that celebrates the diversity of the Latin American artistic and cultural scene. Located at Casa Prado in Miraflores, Lima, the fair is an essential event where a network of artists, galleries, curators, and collectors from the region connect with the international scene.

In 2025, after 12 years of trajectory, Pinta PArC - Perú Arte Contemporáneo - evolves into Pinta Lima, highlighting the city and consolidating itself as the largest contemporary art fair in Peru. With this change, Pinta positions Lima as a key epicenter of Latin American contemporary art.

Under the Global Curatorship of Irene Gelfman, Pinta Lima 2025 will feature the Main Section, hosting over 30 galleries from various cities worldwide. The NEXT Section, curated by Emiliano Valdés, will showcase emerging projects, while the RADAR Section, curated by Florencia Portocarrero, will exhibit works addressing current issues. A prominent space will be the Sculpture Garden, with special curatorship by Giuliana Vidarte.

Pinta Lima will be a hub for exchanging ideas and debates with invited specialists at FORO, coordinated by Giuliana Vidarte, which will also include the Collection Talks cycle, coordinated by Pablo León de la Barra, addressing different collecting dynamics in Latin America. Additionally, special sections and initiatives such as awards and acquisitions will encourage the promotion of Latin American art on an international level.

PINTA LIMA 2025 - CURATORS

IRENE GELFMAN

Photo courtesy of Pinta Lima

Irene Gelfman is the Global Curator of Pinta. Her curatorial approach covers all Pinta events, with the goal of promoting Latin American art through a variety of initiatives. Among these, she selects renowned experts for the fair sections and coordinates their curatorial proposals, which undergo a careful selection and validation process, ensuring high-level projects in the field of Latin American art. Additionally, she is responsible for the Video Project and Special Project at each fair, which highlight the diversity and innovation of Latin American art.  

Graduate and teacher of Middle and Higher Education in Arts (FFyL - UBA); Irene Gelfman attended the # 11 Artists Program at UTDT (Critic and Curator). She is the winner of the first prize New Curators of the AMALITA Collection and the Argentine Association of Art Critics. She works in curation, management, and art criticism. She is the founder and director of Minerva Universos Visuales, an art studio focused on the dissemination of Art History content for diverse audiences, giving a clinic for artists and consulting for cultural projects. She writes for various media, publications and catalogs (Otra Parte, Colección de Artistas, among others). With more than seven years of experience in different areas of cultural management, both public (national and local) and private (foundations and NGOs), she coordinates and produces content. In addition, she put together the programming in areas such as theater, visuals, and music for different festivals, fairs, and international events in which Argentina was invited as a guest country. She developed and coordinated an aid program to promote Argentine artists abroad (APEX-Ministerio de Cultura Nación) and was a strategic advisor for the Barrios Creativos program.

EMILIANO VALDES

Photo courtesy of MAMM / Pinta Lima

Emiliano Valdés is a Guatemalan curator and strategic advisor based in Guatemala City. Until December, he served as the Chief Curator at the Museum of Modern Art in Medellín, Colombia, where over the past decade he developed a program that amplified the voices resonating within the museum and positioned it internationally. He is currently advising the Guatemalan Institute of Tourism on exhibitions, culture, and international fairs, with an emphasis on artisanal and community-based processes. Until 2015, he was the Associate Curator of the 10th Gwangju Biennale (South Korea) and co-director of Proyectos Ultravioleta (Guatemala City). Previously, he was the curator and head of visual arts at the Cultural Center of Spain in Guatemala, where he also founded the space (Ex)Céntrico. Valdés has also worked with institutions such as dOCUMENTA(13) (Kassel), with a fellowship from the Patricia Phelps de Cisneros Collection, the Museo Nacional Centro de Arte Reina Sofía (Madrid), and Contemporary Magazines (London). He has curated, among others, the following international art events: the XVII Paiz Art Biennial in Guatemala, the VIII Nicaraguan Visual Arts Biennial-2011, the Costa Rican Visual Arts Biennial 2013, and the First Tamaulipas Border Biennial, Mexico-2015. He has written for international magazines, catalogs, and books. Valdés is an architect from the Istituto Universitario di Architettura di Venezia (Italy), holds a postgraduate degree in the history of art and Hispanic literature from the Ministry of Culture of Spain and the Duques de Soria Foundation (Spain), and a Master's degree in Urban and Environmental Processes from EAFIT University (Colombia).

FLORENCIA PORTOCARRERO

Photo courtesy of Pinta Lima

Florencia Portocarrero (Lima, 1981) is an interdependent curator. Inside and beyond institutions, her cultural practice intertwines writing, teaching and the organization of exhibitions and public programs. Her research interests focus on how to rewrite art history from a feminist perspective, the questioning of hegemonic forms of knowledge and the processes of subjectivization within the neoliberal economy. Originally trained as a clinical psychologist with a psychoanalytic orientation, between 2012 and 2013, Portocarrero participated in the Curatorial Program at de Appel Arts Centre in Amsterdam, and in 2015 she completed a second MA in Contemporary Art Theory at Goldsmiths University in London. She has lectured at various international institutions and her writings on art and culture appear regularly in specialized magazines and publications. In Lima, she has worked as curator of proyectoamil's public program (2015-2019), was curatorial advisor to the Contemporary Art Acquisitions Committee of the Museo de Arte de Lima-MALI (2018-2020) and is a professor in the Masters in Art History and Curatorship at the PUCP. Since 2014 she is co-director of Bisagra: an art collective in which she has worked in collaboration with artists and professionals from different fields and backgrounds to carry out politically engaged and socially sensitive art projects.

MIGUEL A. LOPEZ

Photo courtesy of Pinta Lima

Miguel A. López (Lima, 1983) is a writer and currently Chief Curator of Museo Universitario del Chopo in Mexico City. He was a co-curator for the 2024 Toronto Biennial of Art. From 2015 to 2020, he worked as Chief Curator, and later Co-director at TEOR/éTica, Costa Rica. In 2019, he curated the retrospective exhibition Cecilia Vicuña: Seehearing the Enlightened Failure at the Witte de With (now Kunstinstituut Melly), Rotterdam, which traveled to Mexico City, Madrid, and Bogota. Between 2023 and 2024, a second retrospective Cecilia Vicuña. Dreaming Water, curated by López, was presented at the Fine Art Museum (MNBA) in Chile, MALBA in Argentina, and Pinacoteca de São Paulo in Brazil. Recent curatorial projects include Sila Chanto & Belkis Ramírez: Aquí me quedo / Here I Stay en el ICA-VCU, Richmond (2022), Hard to Swallow. Anti-Patriarchal Poetics and New Scene in the Nineties at ICPNA, Lima (2021), and And if I devoted my life to one of its feathers? at the Kunsthalle Wien, Vienna (2021).

PABLO LEON DE LA BARRA

Photo courtesy of Pinta Lima

Pablo León de la Barra was born in Mexico City in 1972 and lives in Rio de Janeiro. He earned his Ph.D. in Histories and Theories from the Architectural Association in London. Since 2013, he has been the Curator for Latin America at the Guggenheim Museum in New York, where he curated the exhibitions Under the Same Sun: Art from Latin America Today (2014–16), Cecilia Vicuña: Spin Spin Triangulene (2022), and Gego: Measuring Infinity (2023), and where he is responsible for the acquisition of works by Latin American artists for the museum's collection. He was Chief Curator of the Museo de Arte Contemporáneo de Niterói, Rio de Janeiro (2016–2020) and Director of Casa França-Brasil in Rio de Janeiro (2015–2016), and founder and co-curator of the 1st and 2nd Tropical Biennial, San Juan, Puerto Rico (2011 and 2016). Over more than two decades of curatorial career, he has curated countless exhibitions internationally, in addition to having co-curated the Santa Fe Biennial, New Mexico (2017) as well as the Mexican Pavilion at the 2017 Venice Biennale showcasing the work of Carlos Amorales. In 2012, he received the inaugural Independent Curators International / Colección Patricia Phelps de Cisneros Travel and Research Grant for Central America and the Caribbean in honor of Virginia Pérez-Ratton. He serves on the advisory boards of the Luis Barragán Foundation, Mexico; the Nasher Sculpture Prize, Dallas; the Caribbean Art Initiative, Basel; and is president of the jury for the Prince Claus Fund Impact Awards, Netherlands.

PINTA LIMA 2025 - EXHIBITING GALLERIES

Acacia - La Habana, Cuba

ALA Projects - Miami, USA

Aninat Galería - Santiago de Chile, Chile

Azart Gallery  - Woodstock, USA

Beatriz Gil Galería - Caracas, Venezuela

BLOC Art - Lima, Peru

Collectio - Santiago de Chile, Chile

Crisis - Lima, Peru

Departamento 112 - Buenos Aires, Argentina

Espacio Líquido - Gijón, Spain

Galería Daniel Cuevas - Madrid, Spain

Galería de arte La Sala - Santiago, Chile

Galería del Paseo - Lima, Peru

Galería Martín Yepez  - Lima, Peru

Galerie Younique - París, France

Imaginario - Buenos Aires, Argentina

1/1 Caja de arte- Buenos Aires, Argentina

La Galería de San Isidro - Lima, Peru

La Mille - París, France

Linse Galería - Buenos Aires, Argentina

LnS Gallery - Miami, USA

LyV - Córdoba, Argentina

Marissi Campos - San Isidro, Peru

Miranda Bosch - Buenos Aires, Argentina

NAC - Santiago, Chile

NG Art Gallery - Ciudad de Panamá, Panama

Pabellón 4  - Buenos Aires, Argentina

Ponce+Robles  - Madrid, Spain

Prima Galería - Santiago, Chile

Salón Comunal - Bogotá, Colombia

Sammer Gallery - Miami, USA

Segismundo - Ciudad de Guatemala, Guatemala

VAG - Florida, USA

Viedma - Asunción, Paraguay

PINTA LIMA 2025

Casa Prado - Av. 28 de Julio 878 - Miraflores, Lima, Peru

www.pintalima.art

Elena Damiani @ Galerie Nordenhake, Berlin - "Tellurian Surfaces and Core Fragments" Exhibition

Elena Damiani

Tellurian Surfaces and Core Fragments

Galerie Nordenhake, Berlin 

November 18, 2023 - January 6, 2024

Engaging with the notion of time and materiality, the Peruvian artist Elena Damiani presents her first solo exhibition in Germany. The title 'Tellurian Surfaces and Core Fragments' confronts our understanding of permanent earthly surfaces, readily visualised in phrases such as ‘solid as a rock’, with fragmentation as a process. Her new and recent stone sculptures and collage works embrace this constant flux by encompassing dynamic, decomposing, and transforming weathered bodies.

Elena Damiani’s practice draws on geological records, cosmology as well as material sciences. The word tellurian derives from the Latin 'tellūs', earth, or relating to earth and soil. Commonly assumed as solid in terms of permanence, Elena Damiani’s exhibition explores the movement of earth’s geological matter as a process, specifically processes of fragmentation occurring within rocks and other crystalline materials. Though this is often only visible throughout translated billions of years of geological time or deep time, the world is continuously disintegrating while whole. Attempting to comprehend the immeasurable duration of elemental geo-materials can unsettle and disorient our understanding of time. By way of assembling and reassembling geological materials and fragments such as travertine, marble, onyx and sand, the artist proposes an imagined narrative tracing the geological record of a whole without well-defined boundaries.

The large sculpture 'Testigos (after A. Aalto)' (2023) divides the main gallery space, drawing on architect and designer Alvar Aalto’s folding screen made from fine pinewood strips, which poses a stark contrast to the travertine bodies and copper hinges, that connect the columns of Damiani’s sculpture. Her flexible wall is comprised of stone fragments, each maintaining its own singularity while integrated to function as one. Both 'Testigos (after A. Aalto)' (2023) and 'Testigos IV' (2022) take shape in thin columns, reminiscent of core samples, used to trace past conditions and events in nature. Made from travertine, a limestone that shows the gradual geological conformations particularly well ensuing its colour and shape, the rods are cut to the vein from the same boulder and arranged sequentially. These 'assemblages', a reference to the writings of Guattari and Deleuze as well as Jane Bennett’s more recent Vibrant Matter, recomposes the original stratification pattern of the sedimentary stone. Picking up this deeper layer of geological materials, the series of collages 'Tellurian Signals N.1-4' (2023) combines black and white prints of found photographs of landslide scars from the 1959 Montana earthquake with enhanced photographs of geological specimens recording fractures below the Earth’s surface. Placed alongside the 'Signals', 'Untitled M' (2023) pieces two found photographs of different transformation processes of two granite mountains in the Yosemite National Park into one. One of them considered one of the strongest rocks in California, the collaged peak shows a surface of granite slabs resembling layers of an onion. The second room of the gallery holds 'Relieve II' (2023), a performative sculpture of two hand-carved onyx oloids. The artist solidified the stone traces across the sand by saturating the surface with water, a process which resembles the hardening of sand and other minerals by precipitation, resulting in the formation of an arid soil crust. The work is distinctive in its processual character recording a terrestrial footprint of physical effort in space.

The exhibition requests a closer examination of earth’s materiality as key to gain insight into the current climate change in order to rethink how social and political agency evolves and interacts with earth forces. ‘For the Terrestrial is bound to the earth and to land, but it is also a way of worlding, in that it aligns with no borders, transcends all identities.’ -Bruno Latour

ELENA DAMIANI was born in 1979 in Lima, where she lives and works. Elena Damiani has participated in multiple international biennales, including the Seoul Mediacity Biennale (2023), Cuenca Biennale (2018, 2016), Gwangju Biennale (2016), the Venice Biennale, Vienna Biennale and IV Poly/Graphic San Juan Triennial (both 2015) and Bienal de la Imagen y Movimiento, Buenos Aires (2014). Solo exhibitions include Americas Society New York (permanent installation, 2022), Museo de Arte de Contemporáneo, Lima (2022), Chrysler Museum of Art, Norfolk (2017), Museo Amparo, Puebla (2016), Museo Universitario Arte Contemporáneo, Mexico City (2015). She has participated in group exhibitions at Museum of Modern Art, New York (2023), Museo de Arte Zapopan, Guadalajara (2022), PIVO, São Paulo (2022), The Isabel and Agustín Coppel Collection, Mexico City(2020), DePaul Art Museum, Chicago (2020), Galleria Nazionale d’Arte Moderna, Rome (2019), Museum of Contemporary Art Cleveland, Ohio (2018), Garage Museum of Contemporary Art, Moscow (2015), Museum of Contemporary Art, Detroit (2015), Museo Tamayo Arte Contemporáneo, Mexico City (2013), Museo de Arte Moderno de Buenos Aires (2007), IVAM Instituto Valenciano de Arte Moderno (2007), and Kunstmuseum Bonn (2006) among others. She was awarded the Grants & Commissions Program, CIFO Cisneros Fontanals Art Foundation, Miami (2016) and the commission for the David Rockefeller Atrium, Americas Society, New York (2014). Her works can be found in public collections including MoMA, New York; Museo de Arte de Lima; Galleria Nazionale d’Arte Moderna, Rome; Thyssen-Bornemisza Art Contemporary Collection, Madrid; Perez Art Museum, Miami; Patricia Phelps de Cisneros Collection, New York and Caracas; Museo Tamayo Arte Contemporáneo, Mexico City; Kadist Art Foundation San Francisco and Paris; Fototeca Latinoamericana; and Cisneros Fontanals Art Foundation, Miami. This is her fourth solo exhibition at Galerie Nordenhake.

GALERIE NORDENHAKE

Lindenstrasse 34 - 10969 Berlin

www.nordenhake.com