A gallery SUR, from Montevideo, who usually attends sp-art in São Paulo, holds one of the largest collections of the Argentine artist Antonio Berni (1905-1981). On this occasion, he exhibited one of his fundamental works, Fire in the Barrio de Juanito, 1961. The painting with plates from the series by Juanito Laguna (a character created by the painter to portray the daily story of a child from the favela) and even participated in the 1962 Venice Biennale, where he won the Gran Premio de Engraved and Dibujo.

In Argentina, several public and private capital programs collaborate with museum acquisition projects. In this case, through the mAtcHinG Funds ArtebA – ciudAd bank,  the Museo Municipal de Bellas Artes de Tandil bought the work Rhizome (2017), Carolina Antoniadis, at the Diego Obligado Gallery in Rosario. The Museo de Arte Contemporáneo de Salta acquired two works: La Plata by Agustín Sirai, at the Miranda Bosch gallery, and The flowers, from the series kabuki, by Chiachio & Giannone. The latter is a hand embroidery on a scarf, from 2005, and was acquired at the Ruth Benzacar gallery. Finally, the Museo de Arte Contemporáneo del Sur de Lanús was Argentine girl (2017), by Nora Iniesta, from Galería del In nito, and Soñar el Sueno, by the artist Juan Andrés Videla, from the Jorge Mara gallery.

The Federal Museum Program allowed the acquisition of works from the Franklin Rawson Provincial Museum of Fine Arts in San Juan. The museum chose a work by Elba Bairon, Untitled, 2017, made of paper pulp and marble dust. The Universidad Nacional de Tres de Febrero (UNTREF) bought a series of 8 oils on canvas, 32 x 26 cm each, with portraits from books made by the artist Carlos Huffman, at the Ruth Benzacar gallery.

The Museum of Contemporary Art of Buenos Aires (Fundación Aldo Rubino) chose, at the Maman Fine Arts gallery, the work Tony Donald (1965) by Luis Wells. At the Revolver gallery, a 2018 work by Martina Quesada, Letting the light back in, and the work of Pablo Accinelli, concrete relationship, at the Luisa Strina gallery.

The Museo Lucy Mattos, in San Isidro, participated for the first time in the  Federal Museum Program and took it to his collection Natural Arbol (2018), by Abel Rodríguez, an acrylic on paper. Institute of Vision and Lady of Cao (2017), S/T by artist Silvana Pestana from the Ginsberg gallery in Lima, made in ceramic and metal with variable measurements.

The Museo Castagnino+macro, in Rosario, joins the Federal Museum Program and acquires two works: an installation by Nina Kovensky, diminished reality, from the El Gran Vidrio gallery, in Cordoba, and the work And the stars were shining (1988), by Juan Pablo Renzi, a gouache and acrylic work on paper, by the Henrique Faria Buenos Aires & New York gallery.

The Museo de Arte Latinoamericano de Buenos Aires (Malba) acquired three works by photographer Leandro Katz and one by Teresa Margolles. At the moment, the artistic director of the museum, Agustiín Perez Rubio, is stepping down to return to his country of origin, Spain (read an interview with him by clicking here). The Hotel Meliá Recoleta Plaza acquired two videos in this edition: Faces (2016), by Brazilian artist Lia Chaia, in Galeria Vermelho, and Camera (2017), by Elena Dahn,  at Maria Casado, produced by cell phone as part of the artist's exhibition in 2017.

With the support of Argentine Investments and International Trade Agency, arteBA invited museum curators and directors to acquire works by Argentine artists for their collection.

Pablo León de la Barra, curator of the Guggenheim Museum, in New York, acquired, at the Isla Flotante gallery, a work by the artist Mariela Scafatti, ppink (2015). The artist was a revelation at Miami Art Basel 2017, winning, at age 44, the BMW Art Journey for her installation Handcuff Secrets - Wife secrets.

José Luis Blondet, curator of special projects at the Los Angeles County Museum of Art (LACMA), chose the work Letters to Earth by the Argentine artist Eduardo Navarro, at the Brazilian gallery Nara Roesler, in São Paulo. The work is made up of 100 bronze nuts that contain parts of real nut inside. These “capsules” will allow the fruit to remain intact for 3000 years. It is part of the acquisition contract to “commit to burying the nuts after 100 years” in different parts of the planet.

The curator of the Dallas Art Museum, in Texas (USA), Katherine Brodbeck, chose two works by León Ferrari for the museum's collection.

Lourdes Ramos, President of the Museum of Latin American Art (MOLAA), in Long Beach (USA), took the work of Matías Duville, Inito Red Sunset, sanguine on paper, from the Barro Arte Contemporâneo gallery.

MALI (Museo de Arte de Lima) selected a work s / t, acrylic on canvas, Series erotic, by Marta Minujín, at Henrique Faria Buenos Aires & New York.

The director of the Museo de Arte Contemporáneo de Barcelona (MACBA), Ferran Barenblit, added to the museum’s collection three works by Magdalena Jitrik, from the Luisa Strina gallery: The end, the end, the beginning, Letter Building, and Temple.

Patrick Charpenel, current director of the Museo del Barrio and member of the IRSA Cabinet Selection Committee, took several issues and stamps of the publication Ovum e ovum 10, by the Uruguayan artist Clemente Padín, at the Walden gallery. The editions feature original works, stamp art and collages with contributions from the likes of Michael Gibbs, Tim Ulrichs, Robin Crozier, Raúl Marroquín and Horacio Zabala. Another ten numbers ovum 10 contain articles of concrete and visual poetry.

Mariela Scafatti, was also chosen by Jo Fernandes, deputy director of the Museo Nacional Centro de Arte Reina Sofía, in Madrid, with the work Easels (2015). Reina Sofía also bought a work from the Instituto de Visión de Bogotá, Joy in Paperwork, Paperwork, joy, by the artist, also Argentinian, Amalia Pica (2016).

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