MIRA has a clear and bold objective: to become the must-attend Parisian event for all lovers of Latin American art, which is often overlooked in Europe. At the heart of their mission is showcasing the beautiful diversity that this art represents. Held at the charming Maison de l’Amérique Latine, around twenty international galleries—24 to be exact—gathered in mid-September, welcoming over 5,000 visitors.
For MIRA, founder Manuela Rayo, supported by Thomas Hug, founder and former director of artgenève, conceived a compelling hybrid format. While the first floor featured 14 stands from international exhibitors, following the traditional art fair model, the ground floor offered an exhibition space showcasing works from collectors, as well as a special project titled “In Time/ In Place.” This project brought together works from over 10 galleries and artists deeply connected to Latin America. In one of the rooms, for instance, three powerful works entered into dialogue. A large piece by Claire Fontaine, consisting of a yellow neon tracing the words “Extranjeros en todas partes” on a black background, a reference to the title of the 60th Venice Biennale curated by Adriano Pedroso; in front of it, two pieces by Rodrigo Matheus, presented by Galerie Nathalie Obadia.
On the upper floor, several renowned Latin American galleries were present, such as Projectos Monclova. The Mexican gallery notably showcased the admirable work of Gabriel de Mora, made from obsidian fragments on wood, as well as three monumental textile works by Maria Sosa, featuring painted body parts on organza and muslin, intended to heal aliments. At the stand of El Apartamento, a heavyweight from Cuba, Alex Hernandez's remarkable work contrasted black-and-white photographs with honeycombs, while the textured, relief-filled work of female artist Diana Fonseca, from the series Degradacion, was also on display.
It was hard to remain indifferent to the works presented by Galleria Continua. Beyond others, was a large oil painting on canvas by Yoan Capote depicted a seascape, highlighted by the fish hooks that are characteristic of his work. An installation by José Yaque took the form of a small glass cabinet housing glass bottles with plants immersed in liquid. But most striking were several works by Carlos Garaicoa, including Columnas, a photograph printed on dibond and then cut like a puzzle, with some pieces removed, revealing a second photo in the background.
At the very end of the hallway, the Wizard Gallery’s space awaited, showcasing a group show featuring three artists: Edgar Orlaineta from Mexico, Raúl Cordero from Cuba, and especially Diango Hernández, another Cuban artist whose work I’ve followed for several years and admire greatly. He exhibited a geometric sculpture with rounded forms made from bent steel tubes, as well as his highly aesthetic and mysterious canvases, which appear to be covered by a film of water, subtly distorting the underlying patterns.
Art Dealers Interviews
For once, I only interviewed women gallery owners, and I must say it was particularly enjoyable. At the stand of Projectos Moncolova, a very important Mexican gallery, sales director Alexandra Lovera introduced me to three textile works by indigenous artist Maria Sosa. Maria paints different of the body of muslinand organza in order to heal them. At the Galleria Continua stand, associate director Charlotte Urgese told me about the incredible work of Carlos Garaicoa, a photograph of ruins printed on a partially completed puzzle, set against another photo of the same location but at a different time. At Galeria Casado SantaPau, I was impressed by the handwritten transcription of the book Tempestad en los Andes by artist José Vera Matos, presented by the gallery's co-founder Concha Santapau. Finally, I loved the decorative yet politically engaged work in carved wood and cardboard by Marco Castillo, presented by Monica Gonzales-Adalid at the Albarran Bourdais galley.
How Much Does It Cost?
I would have loved to leave with Wakamba nervurado 2 by Marco Castillo, offered by the Albarran Bourdais gallery for €60,000. What a joy it would be to lose yourself in the geometric forms carved into the cardboard. The contemplative mood continues with this poetic yet enigmatic canvas by Diango Hernandez, an artist I’ve been following with great interest for several years, offered for €32,000 by Wizard Gallery. More geomatric forms with the patinated and painted bronze sculpture by Agustín Cárdenas, Mon Ombre Après Minuit, priced €370,000 at Galerie Mitterrand and siplayed in the garder. I was also quite fascinated by this wall sculpture by Miler Lagos, Lago de la Canales Sumergidas, which perfectly mimics liquid carefully collected in a sheet of paper. You only needed €15,000 at the Max Estrella gallery to carry it home under your arm!
I loved the dialogue established between all these works, painting a detailed and diverse portrait of the contemporary Latin American art scene. Including collectors in the event was also an interesting idea, opening the door to dedicated sections within art fairs. MIRA provided the Parisian public with a wonderful opportunity to discover this art, still modestly collected in Europe, in the stunning setting of the Maison de l’Amérique Latine. There’s no doubt that MIRA will successfully establish itself as a key event in the city’s cultural calendar.
