Focused on the genre of landscape painting, yet with outcomes leaning toward abstraction, Marina Rheingantz’s artistic production occupies a fictional space between the two—landscape and abstraction—questioning the certainties of what is being seen. “Atmospheric” and “raw” are terms often conceptually associated with her works, whose materiality emerges from an open-ended process attentive to the sensory possibilities of paint.
Rheingantz takes part in the 14th Mercosul Biennial with her oil paintings, including two large-scale works. These pieces construct landscapes from small figures in motion, which unfold into colors. Sometimes composed of minimal elements and/or muted tones, the works echo the rhythm of their ethereal spatiality. By combining formal patterns, color fields, and instinctive gestures, they emphasize texture and chromatic effects, evoking a shifting, elusive space.
Charlene Cabral
Marina Rheingantz (Brazil, 1983) is a painter who reconfigures landscape painting in compositions that combine the formal ordering of patterns and fields of color with instinctive gestural marks, informed by an archive of meteorological events, memories, photographs, and places. Her paintings produce vast imaginary spaces, dissolving topography into minimal and allusive elements. She has exhibited in renowned galleries and museums in Brazil and internationally, including the Museu de Arte de São Paulo and the Museu de Arte do Rio. She was a finalist for the Pipa Prize. Her work is part of important collections, such as the Centre Pompidou, the Pinault Collection, the Instituto Inhotim, the Moderna Museet, the Pinacoteca do Estado de São Paulo, and the Taguchi Art Collection. She lives in São Paulo, Brazil.
