Irene Gelfman is the Global Curator and Artistic Director of Pinta Art Fair. During her tenure, Pinta has expanded its presence into different cities and art scenes, while developing a programme that extends beyond the traditional art fair format.
In this conversation, we speak with Irene about the evolution of contemporary art in Latin America, the limits of the category “Latin American art,” her curatorial approach, and what lies ahead for Pinta, from BAphoto to the 20th anniversary of Pinta Miami.
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Written by: Melanie Alvarado is an art consultant and writer specialised in Latin American art. Beyond the commercial sphere, she is a passionate advocate for cultural dialogue and equity in the arts. She is a Board Member of Saloon Munich, part of the international Saloon network supporting women in the arts through professional exchange, community, and programming. She also supports Amalgama Art to develop cultural partnerships that amplify cross-cultural programming and visibility for Latin American artists. Melanie holds degrees from American University’s Kogod School of Business and the Frankfurt School of Finance & Management.
After so many years exploring art scenes across different countries in Latin America, what changes do you think have most profoundly transformed the contemporary art landscape in the region?
IG: There has been a decentralization that I think is important to highlight. For years, the Global South has been shaping the cultural agenda of biennials, museums, and fairs. The axis no longer revolves around just two or three global capitals. Today, there are circuits that were once considered “peripheral” whose artistic production is gaining increasing recognition and visibility in major exhibitions.
