Aspen Art Museum

Sopro

2024

Oil on canvas

51.18 × 43.40 in   |   130 × 110 cm

Kindly donated by Marina Rheingantz, Bortolami, Fortes D'Aloia & Gabriel, and White Cube

Estimate: $80,000–$120,000

The following text appears in the Aspen Art Museum Summer Magazine

Marina Rheingantz’s landscapes come from memories of real places. In the beginning, she drew upon the country- side of her childhood, around her family’s farm in Brazil, but her references have since expanded. Writing in the New York Times in 2018, Roberta Smith observes that the paintings of Rheingantz “recalibrate the work of Cy Twombly and Anselm Kiefer into large, semi-abstract landscapes full of ambiguous forms and details that are deeply dystopian in mood. They’re beautiful wastelands writ small, delicately dotted with suggestions of trash; ruined structures and abandoned encampments; occasional tiny flags or palm trees; and enticing little pile ups of paint.”

In recent times, Rheingantz has begun to make tapestries and embroideries in collaboration with her mother. In her work, sometimes the starting point is a specific reference, while at other times it is more abstract. Talking to Rory Mitchell in 2022 for Ocula, she says, “My painting process is instinctive in a way, it’s not controlled.” She goes on to explain that she is often energized by a sense of anger and frustration, fueled by the turmoil and corruption of Brazilian politics of the last few years.

Rheingantz was born in Araraquara, Brazil, and now lives in São Paulo.

Her work is included in numerous prestigious public and private collections, including the Centre Pompidou and Pinault Collection, Paris; Institute of Contemporary Art and Rubell Museum, Miami; and Museum of Fine Arts, Boston.

About the Artist

Marina Rheingantz reprocesses landscape painting in compositions that combine the formal ordering of patterns and color fields with gestural, instinctive markings, informed by an archive of meteorological events, memories, photographs and places. Her canvasses produce ample imaginary spaces, dissolving topology into minimal, allusive elements. These expansive works privilege surface incident over image clarity, giving way to the perception of a vaporous, oscillating spatiality. Observing her paintings from up close or afar causes the agitated atmosphere to shift; what seemed like the outline of a lake, a mountain or a rural view becomes a blotch of paint and impasto accumulations with no identifiable referent. The artist unravels issues of her painting into embroidery and tapestry, whose rhythmic, iterative technique gives form to a body of work that is both dense and delicate.

Noteworthy solo shows include Maré, White Cube Mason’s Yard, London, UK (2023); Sedimentar, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022); Suor, Bortolami, New York (2021); Marina Rheingantz, FRAC Auvergne, Clermont-Ferrand, França (2021); Todo mar tem um rio, Fortes D’Aloia & Gabriel, São Paulo, Brasil (2019); Terra Líquida, Galeria Fortes Vilaça, São Paulo, Brasil (2016); Uma hora e mais outra, Galeria Fortes Vilaça, São Paulo, Brasil (2013). Noteworthy recent group shows include Some Landscapes, Bortolami, New York (2023); Abrasive Paradise, KUNSTHAL KAdE, Amersfoot, Holanda (2022); Nature Loves to Hide, Fortes D’Aloia & Gabriel + Lévy Gorvy, Palm Beach, USA (2021); 1981–2021 Arte Contemporânea Brasileira na Coleção Andrea e José Olympio Pereira, Centro Cultural do Banco do Brasil (CCBB), Rio de Janeiro, Brasil (2021); Casa Carioca, Museu de Arte do Rio (MAR), Rio de Janeiro, Brasil (2020); Perdona que no te crea, Carpintaria, Rio de Janeiro, Brasil (2019); Mínimo, múltiplo, comum, Estação Pinacoteca, São Paulo, Brasil (2018); A luz que vela o corpo é a mesma que revela a tela, Caixa Cultural, Rio de Janeiro, Brasil (2017).

Her work is included in important public collections such as Centre Pompidou, Paris, France; Pinault Collection, Paris, France; Centro Cultural São Paulo, São Paulo, Brasil; Instituto Inhotim, Brumadinho, Brazil; Instituto Itaú Cultural, São Paulo, Brazil; Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil; Lewben Art Foundation, Vilnius, Lithuania; Museu de Arte Moderna do Rio de Janeiro (MAM), Rio de Janeiro, Brazil; Museu Serralves–Museu de Arte Contemporânea, Porto, Portugal; Museum Voorlinden, Wassenaar, Netherlands; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; Taguchi Art Collection, Tokyo, Japan; The Alfond Collection of Contemporary Art, Florida, USA; The Igal Ahouvi Collection, Tel-Aviv, Israel; The Rubell Family Collection, Miami, USA.

Artist Resale Clause

This artwork is subject to auction non-resale restrictions as a condition of purchase.

Please contact bid@aspenartmuseum.org for more information.

How to Bid

All lots will be on view at the Aspen Art Museum from July 17 through August 1.

Bidding on this work takes place at the ArtCrush gala on Friday, August 2nd, at 8pm MT. Absentee and telephone bidding available.

Please contact bid@aspenartmuseum.org for more information, including a condition report.

In the Live Auction, there is no Buyer’s Premium and the difference between the mid-estimate and the winning bid is a tax deductible donation to the museum.

Explore the Online Auction     Explore the Live Auction     Explore the Private Sale