The historic halls of Casa Victoria Ocampo, the current headquarters of the Fondo Nacional de las Artes (FNA), served as the backdrop for a significant cultural milestone this week. The event marked the official presentation of the catálogo razonado “Pinamar Arte y Naturaleza”, a comprehensive publication by Pinamar S.A. That seeks to redefine the relationship between public art, the coastal landscape, and the community that inhabits it.
More than a simple inventory, the catalogue proposes a curated reading of how art integrates with the environment and the inevitable passage of time. By documenting the artistic footprints left on the dunes and urban spaces of Pinamar, the project transforms the city’s physical layout into a narrative of symbolic construction, bridging the gap between institutional curation and public accessibility.
The publication is a rigorous piece of research spanning 240 pages. Its hardcover design features a cover that mirrors the natural textures left on the sand as the tide retreats, signaling the book’s thematic focus on the dialogue between man-made intervention and organic nature. Inside, the work contextualizes over 80 public art projects and installations created by 50 different artists over a period exceeding 120 years.
This effort by Pinamar S.A. Creates a permanent documentary body that ensures the preservation and valuation of the city’s artistic heritage. To ensure the information reaches a global audience, the project exists both as a physical volume and a digital edition, making the research accessible to scholars, tourists, and residents alike.
A Vision of the City as an Open-Air Museum
The philosophy behind the project was emphasized during the opening remarks by Tulio Andreussi Guzmán, president of the Fondo Nacional de las Artes. Guzmán argued that the integration of art into the public sphere is not merely a logistical task but a profound emotional and curatorial choice.
“Convertir un territorio en un museo a cielo abierto no es una tarea puramente administrativa. Es un acto de poder curatorial y fundamentalmente un acto de amor,” Guzmán stated. He further elaborated that the decision to let art “land in the dunes and the city” ensures that creativity is not kept under lock and key, but is instead allowed to interact with the elements. “Es permitir que la materia —el bronce, la piedra, la madera— dialogue con el viento y el mar para que cada ciudadano, al caminar entre las esculturas, pueda alcanzar su propia experiencia cumbre,” he added.
This sentiment was echoed by Enrique Shaw, executive director of Pinamar S.A., who framed the initiative as part of the essential “craft” of urban development. Shaw suggested that a city’s identity is built on more than just infrastructure. “Pensamos el arte como parte del oficio de hacer ciudad. Una ciudad no se construye solo con edificios y calles, sino también con ideas, valores y cultura,” Shaw noted, adding that this commitment to culture is a long-term strategy as the city approaches its centennial anniversary.
The presentation included contributions from several key figures who shaped the project, including Pinamar Mayor Juan Ibarguren, lead researcher Luciana García Belbey, and assistant researcher Juana Alzamora Cabred. The event concluded with remarks from Elsa Shaw de Canale, institutional director of Pinamar S.A.
Expanding the Horizon: Pinamar Contemporáneo
While the catalogue looks back at 120 years of history, the event also looked toward the future with the announcement of “Pinamar Contemporáneo.” This new international platform for contemporary art is designed to evolve the city’s artistic landscape under the artistic direction of Andrés Duprat, one of the region’s most influential curators.
Duprat explained that the platform will operate on an invitation-based structure, bringing in a rotating selection of curators and established artists. A critical component of the process is the requirement for artists to visit the city first, as Duprat believes the specific geography of the location is essential to the creative process, stating that “el campo de batalla” is Pinamar itself.
The initiative aims to build upon the existing collection documented in the catálogo razonado “Pinamar Arte y Naturaleza” but will expand the definition of “art” to include non-objectual works. Duprat noted that the platform will embrace experiences, diverse materials, and expanded concepts that move beyond traditional sculpture.
The first season of Pinamar Contemporáneo, curated by Colombian curator José Roca, is scheduled to debut on November 9 and 10, 2026. This inaugural season will feature site-specific works from a prestigious roster of international and local talent.
| Artist | Nationality | Role/Contribution |
|---|---|---|
| Marta Minujín | Argentina | Site-specific installation |
| Tania Candiani | Mexico | Site-specific installation |
| John Gerrard | Ireland | Site-specific installation |
| María Elvira Escallón | Colombia | Site-specific installation |
| Matías Duville | Argentina | Site-specific installation |
The exhibition will be completed by the winning entry of the Premio Pinamar Contemporáneo #2254, a competitive award organized in alliance with the Fundación ArteBA, one of Argentina’s most prominent art institutions.
The launch event was attended by a diverse crowd of artists, museum representatives, cultural authorities, and specialized press, signaling a strong institutional and public interest in the intersection of environmental preservation and artistic expression.
The next major milestone for this cultural trajectory will be the official rollout of the Premio Pinamar Contemporáneo #2254, leading up to the inaugural installations in November 2026.
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