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Fharid LaTorre en GlogauAIR, Berlín: la visibilidad como territorio de poder y control

By
Art Miami Magazine Editorial Staff
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Fharid LaTorre art
Image: GlogauAIR

El artista radicado entre Miami y Nueva York desarrolla una nueva serie de instrumentos ópticos que investigan la relación entre percepción, tecnología y exposición, cuestionando las condiciones que determinan aquello que podemos ver y las consecuencias de hacerlo visible.

BERLÍN, ALEMANIA — Octubre de 2026. El artista visual Fharid LaTorre (1999), formado en The Cooper Union de Nueva York, desarrolla una nueva investigación artística durante su residencia en GlogauAIR, un espacio internacional de creación contemporánea situado en el distrito de Kreuzberg, Berlín. Su proyecto propone una exploración de las relaciones entre luz, percepción y poder mediante dispositivos escultóricos que convierten la visibilidad en una experiencia condicionada.

Durante la residencia, LaTorre trabaja en una serie de instrumentos ópticos de acero inoxidable para instalación mural, incorporando películas polarizadoras recuperadas de pantallas LCD. Estos materiales permiten que determinadas imágenes de video sean perceptibles únicamente desde un ángulo específico, mientras desaparecen desde otras posiciones. El artista también desarrolla en Berlín el material audiovisual que formará parte de las piezas, mediante procesos de filmación y edición realizados durante su estancia.

La propuesta introduce una pregunta fundamental: ¿quién determina lo que podemos ver y bajo qué condiciones se nos concede ese acceso? En estas obras, la percepción deja de funcionar como una facultad aparentemente universal para convertirse en una experiencia dependiente de la posición física del espectador. La imagen existe, pero su aparición está condicionada por una relación precisa entre el cuerpo, la luz y el dispositivo.

Esta investigación amplía preocupaciones presentes en la trayectoria de LaTorre, cuya práctica examina las tensiones entre ruptura, reparación y regeneración. Su producción escultórica ha recurrido a madera tallada, metales fundidos y sinterizados, así como a mecanismos de fabricación propia inspirados en sistemas médicos e industriales. A través de estos materiales, el artista aborda el cuerpo como una estructura permeable, atravesada por fuerzas sociales, tecnológicas y materiales que operan más allá de la voluntad individual.

En su investigación actual, la frontera entre apoyo y restricción, recurrente en su trabajo, se traslada al campo de la percepción. Los instrumentos ópticos pueden entenderse como mecanismos que simultáneamente revelan y ocultan. La posición del observador determina el acceso a la imagen, haciendo visible la tensión entre conocimiento y exclusión, entre la posibilidad de mirar y las estructuras que regulan esa posibilidad.

El material audiovisual que LaTorre desarrolla para estas piezas presenta imágenes de espacios o situaciones potencialmente envolventes, captadas en el instante anterior a su cierre. Esta condición de inminencia introduce una dimensión temporal y psicológica: aquello que aparece ante los ojos no es necesariamente un acontecimiento consumado, sino la posibilidad de una transformación todavía suspendida.

Desde una perspectiva crítica, el proyecto puede leerse en relación con los debates contemporáneos sobre vigilancia, exposición y los sistemas tecnológicos que median nuestra experiencia del mundo. La visibilidad no aparece aquí como sinónimo automático de libertad. Por el contrario, el acto de ver implica una negociación entre acceso, posición y vulnerabilidad.

GlogauAIR: un espacio para la investigación y el intercambio artístico

Fundada en 2006 por el artista español Chema Alvargonzalez, GlogauAIR es una organización artística sin fines de lucro dedicada a fomentar la creación, la experimentación y el intercambio entre artistas internacionales de diferentes disciplinas.

Ubicada en un edificio histórico de Kreuzberg, originalmente concebido como escuela, la institución dispone de trece estudios de residencia distribuidos en tres plantas. Su programa presencial proporciona acompañamiento curatorial y técnico, además de actividades orientadas al desarrollo profesional y al diálogo entre los participantes.

GlogauAIR se articula alrededor de tres principios: explorar, crear y exhibir. Su estructura favorece tanto la investigación individual como el encuentro entre prácticas artísticas diversas, estableciendo conexiones entre la comunidad internacional de residentes y el contexto cultural berlinés.

Para LaTorre, este entorno constituye un espacio de desarrollo de una investigación que combina escultura, video, percepción óptica y fabricación tecnológica, prolongando su interés por los sistemas que condicionan la experiencia corporal y la autonomía individual.

Una práctica entre el cuerpo y los sistemas de control

Criado en los límites geográficos de los Everglades, en el sur de Florida, y actualmente vinculado a Miami y Nueva York, Fharid LaTorre obtuvo su Bachelor of Fine Arts en The Cooper Union en 2022.

Su trabajo examina los procesos mediante los cuales el cuerpo se transforma al entrar en contacto con infraestructuras de extracción, circulación, asistencia y control. Más que representar el cuerpo como una entidad estable, LaTorre lo concibe como un territorio de relaciones materiales y sociales en constante transformación.

En GlogauAIR, estas preocupaciones adquieren una nueva dimensión. La investigación se desplaza hacia las condiciones de aparición de la imagen y hacia el papel del espectador dentro de los mecanismos que hacen posible su percepción.

El proyecto propone así una reflexión sobre una paradoja central de la contemporaneidad: la posibilidad de ver no garantiza necesariamente la libertad de la mirada. Entre aquello que se revela y lo que permanece oculto, LaTorre sitúa al espectador frente a los límites de su propia percepción y a las estructuras que determinan su acceso a la realidad.

GlogauAIR
Glogauer Str. 16, 10999 Berlín, Alemania
www.glogauair.net

Art Miami Magazine | Contemporary Art & Artist Residencies

Anne-Valerie Imparato: Memory, Identity, and the Revolutionary Act of Rest

By
Rafael Montilla
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Anne-Valerie Prosper
“Alternation of Generations,” 2025 – embroidery and acrylic on canvas, 30 x 40 inches

For Haitian-born artist Anne-Valerie Imparato, art is a space where personal memory, cultural inheritance, and the complexities of Black womanhood converge. Through painting, embroidery, and mixed media, she explores identity, motherhood, vulnerability, and resilience, creating visual narratives that challenge conventional representations of Black life.

Originally from Haiti, Prosper Imparato grew up across different countries and cultural environments. Her artistic language reflects these experiences, drawing particularly from East African and Caribbean visual traditions. Bold colors, intricate patterns, and layered textiles become expressions of belonging, connecting personal history with a broader cultural heritage.

Her figures occupy the pictorial space with confidence and emotional complexity. They confront, recline, dream, and grieve, embodying experiences that are frequently overlooked or simplified in mainstream representations. Rather than presenting Black women exclusively through narratives of struggle or strength, Prosper Imparato explores their humanity through moments of intimacy, reflection, vulnerability, and self-determination.

Anne-Valerie Prosper

Color plays a fundamental role in her practice, functioning as an emotional language capable of expressing grief, pride, resistance, and rest. The fabrics and patterns incorporated into her compositions evoke protection, inheritance, and the accumulated histories that shape individual and collective identities. Their visual richness does not diminish the gravity of her subjects; instead, it establishes a dialogue between beauty and emotional complexity.

Central to her artistic vision is the relationship between memory and representation. Prosper Imparato understands her work as both an archive and an altar, a space where personal experiences intersect with cultural histories. This perspective acknowledges that identity is never entirely fixed but continually shaped by recollection, transformation, and the experiences carried across generations.

Her recent exploration of rest introduces another dimension to her practice. In a society that frequently associates Black womanhood with endurance and self-sacrifice, the simple act of depicting Black women resting becomes a powerful statement about autonomy. Rest emerges not as a retreat from resistance, but as an affirmation of the right to exist beyond the constant expectation of perseverance.

An experienced artist, illustrator, and muralist, Prosper Imparato has developed a practice spanning intimate works on canvas and embroidery to large-scale public art. Her murals have been presented at the Tufts University Africana Center and Harvard University’s Smith Center, while her canvas and embroidery work has been exhibited at the Somerville Media Center.

Through her multidisciplinary practice, Anne-Valerie Prosper Imparato creates a visual language in which beauty and vulnerability coexist, and where cultural memory becomes a source of both reflection and transformation. Her work ultimately invites viewers to reconsider how Black women’s lives are represented, suggesting that dignity, freedom, and resilience can also be found in moments of stillness, tenderness, and rest.

Anne-Valerie Prosper
“Respectability Politics,” 2025- Embroidery and fabric on canvas, 36 x 48 inches

Artist Statement

My work is a vibrant meditation on identity, memory, and the multifaceted experience of being—particularly through the lens of Black womanhood. Using a combination of painting, embroidery, and mixed media, I explore emotional narratives rooted in personal history and cultural storytelling. Each figure I render embodies a psychological and spiritual presence, capturing moments of vulnerability, transformation, and resistance.

Color is a central language in my practice. I use it not just for aesthetic impact but as a means of conveying inner states—grief, pride, rest, de fiance. The figures are often adorned in patterns or constructed from fabric, symbolizing inheritance, protection, and the layered histories we carry. My subjects are not passive—they confront, recline, dream, and grieve. They hold space unapologetically.

Through this work, I aim to honor the quiet rituals of womanhood: mothering, suffering, perseverance. These scenes challenge stereotypical depictions of Black life by centering intimacy, complexity, and beauty.

I see my art as both archive and altar—a place where memory meets invention, and where the past is never far from the surface.

Artist Bio

Valerie Prosper Imparato is originally from Haiti, and she has lived all over the world. Imparato is an experienced artist, illustrator, and muralist whose aesthetic draws from the diverse cultural influences in her upbringing, with an emphasis on East-African and Caribbean art. Imparato’s work is bold, bright, and colorful. Much of Imparato’s work seeks to highlight otherwise underrepresented and under celebrated communities- Black Women, immigrants, mothers. Imparato’s mural work can most recently be found at the Tufts University Africana Center and Harvard University’s Smith Center. The artist’s canvas and embroidery work is currently on display at the Somerville Media Center.

Anne-Valerie Imparato: The Weight of Memory and the Revolutionary Act of Rest

By
Rafael Montilla
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Anne-Valerie Prosper
“On Mothering,” 2025- Embroidery, fabric, and acrylic on canvas, 30 x 40 inches

For Haitian-born artist Anne-Valerie Prosper, painting is a space where memory, identity, and vulnerability converge. Drawing from her experiences as a Black woman, immigrant, and mother, her work explores cultural belonging, resilience, and the emotional complexities of everyday life.

In this conversation with Art Miami Magazine, Prosper reflects on the memories she has yet to translate into art, the meaning of home across cultures, and her refusal to let Black womanhood be defined by suffering. As her practice moves from perseverance toward rest, she embraces a powerful idea: rest is not surrender, but a revolutionary act of self-determination.

www.valeriepimparato.com
@vp_visualart

AMM: You describe your art as both an archive and altar, a place where “the past is never far from the surface.” An archive preserves, while an altar makes a demand on the living and the dead. Which memories from your own history have you been unable to place in either category, and what keeps them off the canvas?

Anne-Valerie Imparato: This is a great question. As you know, my art is pretty vulnerable and deeply personal. However, I’ve been unable to make any work about my daughter’s birth. By the grace of God she was fine, but I had “every non fatal complication” known to birth, as the nurses described it. There were points in the hospital where I was treated really badly. I was not shielded by my education, my status, my ability or willingness to advocate for myself- I was another victim of the U.S.’ horrific Black maternal health crisis. The memory of what was supposed to be the best day of my life (and in some ways still was) remains off the canvas. It’s something I think about a lot, an event that is etched into my body and my soul and continues to inform my every day life. But for some reason, I just can’t make art about it. Not yet, at least. It’s been nearly five years.

Anne-Valerie Prosper
Anne-Valerie Prosper

AMM: Your biography begins in Haiti and moves through many countries. When you paint inheritance and belonging through fabric and pattern, are you recovering a home you carry within you, or inventing one you never fully had? Where does memory end and invention begin, and does not knowing ever unsettle you?

Answer:

AVP: I consider myself a TCK, “Third Culture Kid,”and there are millions of us all over the world. The 3 cultures refer to your parents’ home culture, the culture you live in at the time, and a third blended culture that lives in between the two. It doesn’t unsettle me because it’s how I grew up and who I grew up around. All of my friends until the age of 18 were TCKs, and there’s a special way in which we understand each other and have a culture of our own. I guess you could say it’s a home of my “invention,” but it feels real and tangible, and it is transferable aesthetically in my work. I find that when I meet TCKs even today, it’s like meeting someone from your “home country.”

Anne-Valerie Prosper
“In Waiting,” 2024 – Embroidery and silk on canvas, 30 x 40 inches

AMM: Your figures “hold space unapologetically,” and your work seeks to challenge stereotypical depictions of Black life. But the mission of correcting an image can become its own obligation. Do you ever feel that representing Black women, immigrants, and mothers limits what you are free to paint, including the ambivalence, anger, or discomfort that might not serve “beauty”?

AVP: I’ve thought about this a lot, but I don’t feel limited at all. I am a Black woman, an immigrant, and a mother. What else would I make? Toni Morrison spoke a lot about this when questioned if she felt limited by making work “for” Black people and exclusively about Black people. She didn’t. It’s what she knew, what she resonated with, and what she was making work for. I don’t think I can claim to represent all Black women or immigrants or mothers, but I think that all artists make art about what they know. I don’t think that I have a mission of correcting erroneous depictions- it’s more like the consequence of my work, the consequence of depicting whole, real, complex and multidimensional Black women is the correction in and of itself.

Anne-Valerie Prosper

AMM: You honor mothering, suffering, and perseverance as quiet rituals. Yet perseverance is so often praised in women whose pain is expected to remain silent. Do you worry that celebrating endurance risks sanctifying a burden that deserves to be refused? What would a figure who stops persevering look like in your work?

AVP: I do, especially because it’s such a burden placed on black women by society. In fact, my latest series is about rest. Just Black women resting. The work you’ve seen is a reflection of the season I was in at the time I made it, and that was a season of perseverance. Now, I am prioritizing the revolutionary act of rest as a Black woman in America.

Anne-Valerie Prosper

AMM: Color, for you, names grief, pride, rest, and defiance, while pattern and fabric act as protection and inheritance. What do these layers shield? If you stripped them away, which feeling would you be most afraid to see in your figures, or in yourself?

AVP: I sometimes think that my aesthetic and subject matter can seem like an unlikely mix. Due to my cultural influences I love color. I love patterns. It’s the way my eyes work and the way my brain works. I know that color and patterns are usually associated with jovial subject matter, but I don’t think color and patterns have to be limited to happy or light subject matter. I think they can be vehicles for any subject matter and I think my figures are themselves effective in what they are trying to communicate. I don’t think there’s much more I can strip down in my work. It’s by far the place I am most open and raw with the world.

Altar de Muertos at Coral Gables Museum

By
Art Miami Magazine Editorial Staff
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Altar de Muertos

Día de Muertos: An Ofrenda Honoring the Memory of Octavio Paz

In collaboration with the Mexican Cultural Institute in Miami, Coral Gables Museum presents a traditional Día de Muertos altar dedicated to the Nobel Prize-winning poet, bringing together art, literature, memory, and Mexican cultural heritage.

CORAL GABLES, FL — On Saturday, October 31, 2026, Coral Gables Museum will celebrate Día de Muertos with Una ofrenda a la memoria de Octavio Paz, a special installation honoring the legacy of one of Mexico’s most influential literary figures. Presented in collaboration with the Mexican Cultural Institute in Miami, the event marks the museum’s first presentation of a traditional Día de Muertos altar, inviting visitors to explore the relationship between remembrance, cultural identity, and artistic expression.

Created by Mexican artists Karla Kantorovich and Mónica Czukerberg, the installation pays tribute to Octavio Paz (1914–1998), the celebrated poet, essayist, and recipient of the 1990 Nobel Prize in Literature. Through a carefully assembled ofrenda, the artists bring together traditional elements of the Mexican celebration with visual references to Paz’s intellectual and literary universe.

Marigolds, candles, papel picado, textiles, books, and symbolic offerings become part of an installation that reflects on the enduring presence of those who have passed away. Each element contributes to a visual language in which memory is not understood simply as an act of looking backward, but as a continuing relationship between the living and the dead.

Memory, Poetry, and the Meaning of Día de Muertos

Día de Muertos occupies a distinctive place in Mexican cultural heritage. Rather than approaching death exclusively through grief or absence, the tradition creates a space for remembrance, celebration, and the symbolic return of loved ones through offerings prepared in their honor.

The choice of Octavio Paz as the subject of this tribute introduces an additional layer of meaning. Throughout his literary career, Paz explored questions of identity, time, solitude, history, and the relationship between life and death. His reflections on Mexican culture and the human experience offer a compelling intellectual context for an altar dedicated to memory.

In this installation, the ofrenda becomes more than a traditional ceremonial arrangement. It also functions as an artistic interpretation of Paz’s legacy, where literature and visual culture intersect. Books and written words coexist with flowers, light, color, and ritual objects, creating a dialogue between the material and the intangible.

Through their collaboration, Kantorovich and Czukerberg invite audiences to consider how cultural traditions preserve collective memory while remaining open to contemporary artistic expression.

A Cultural Celebration for the Community

Beyond the installation, Coral Gables Museum will offer a program designed to introduce visitors of all ages to the traditions and creative expressions associated with Día de Muertos.

The celebration will feature an opening presentation by the artists, tastings of Mexican food and traditional pan de muerto, live guitar music, and a creative workshop inspired by the vibrant imagery of the celebration.

By combining visual art, literature, music, and participatory activities, the program offers an opportunity for families and the broader Miami community to experience an important aspect of Mexican cultural heritage.

Una ofrenda a la memoria de Octavio Paz also reflects the significance of cultural collaboration in South Florida, bringing together artists and institutions to encourage intercultural dialogue and a deeper appreciation of the traditions that shape the region’s diverse communities.

At its heart, the exhibition presents remembrance as an active and creative gesture. Through the poetry of Octavio Paz and the artistic interpretations of Kantorovich and Czukerberg, the celebration reminds visitors that memory continues to connect generations, cultures, and personal histories.

Event Information

Event: Día de Muertos: Una ofrenda a la memoria de Octavio Paz

Date: Saturday, October 31, 2026

Time: 10:30 AM – 2:00 PM

Venue: Coral Gables Museum, Coral Gables, Florida

Artists: Karla Kantorovich and Mónica Czukerberg

Presented in collaboration with: Mexican Cultural Institute in Miami

Activities: Artist presentation, Mexican food and pan de muerto tastings, live guitar music, and creative workshop.

RSVP and additional information:
https://coralgablesmuseum.org/project/dia-de-muertos-una-ofrenda-ala-memoria-de-octavio-paz/

Art Miami Magazine | Arts, Culture & Exhibitions

Karla Kantorovich is a Mexican multidisciplinary artist based in Miami, whose practice explores transformation, memory, and the profound connection between humanity and nature.

Working with handmade paper, textiles, ceramics, fibers, and found organic materials, she transforms processes of erosion and reconstruction into acts of renewal. Kantorovich earned her MFA from Florida International University.

Her work has been exhibited nationally and internationally, including at Museo Rufino Tamayo and MACO Museum in Mexico, Piero Atchugarry Gallery, the Patricia & Phillip Frost Art Museum, and The Society of the Four Arts. She received the Ellies Creator Award (Oolite Arts, 2021), the Green Space Award (2023), and First Prize at the World Textile Art Biennial (2025), along with an Honorable Mention at the XIX Bienal Rufino Tamayo.

Deeply rooted in her Mexican heritage, Kantorovich’s work embodies a continuous dialogue between material, spirit, and the natural world.

Mónica Czukerberg Nankin is a visual artist whose practice focuses primarily on abstract painting, sculpture, mixed media, and photography. Her creative process is rooted in the exploration and experimentation of materials, textures, and forms, continuously seeking new techniques to articulate her aesthetic vision.

She defines her artistic style as “abstract realism,” combining elements of nature with undefined environments shaped by personal reflection and investigation. Inspired by Mexico’s Pueblos Mágicos and the natural world, her work draws from landscapes, the interplay of light and shadow, the depths of the ocean, the freshness of forests, lush foliage, and vibrant flowers. Drawing on her background in architecture, she seeks to establish a sense of balance through the integration of geometric and organic forms.

Through abstract painting and sculpture, Czukerberg Nankin moves beyond the constraints of literal representation, exploring different ways to communicate emotions and ideas. Her work invites viewers to immerse themselves in imagined landscapes, evoking the sensation of being transported to a magical place where nature, abstraction, and imagination converge.

Camilo Palomeq’: Human Creativity, Artificial Intelligence, and the Question of Authorship

By
Rafael Montilla
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Camilo Palomeq'

As artificial intelligence and digital technologies increasingly reshape contemporary visual culture, the distinction between human creativity and machine-generated production has become a central question in artistic discourse. For Camilo Palomeq’, an artist and creative technologist whose practice spans traditional fine art, film, and interactive media, this tension is not merely technological but fundamentally philosophical: What gives an artwork meaning, and where does authorship reside when machines can reproduce visual styles almost instantaneously?

In this interview with Art Miami Magazine, Palomeq’ reflects on the evolving relationship between artistic intention, technological mediation, and creative identity. Moving between handcrafted processes and digitally constructed experiences, he examines how technology can expand the possibilities of expression while simultaneously threatening to overshadow the human imagination that gives those possibilities purpose.

His practice challenges the assumption that technological innovation necessarily represents artistic progress. While embracing interactive design, stop-motion filmmaking, and projection mapping, Palomeq’ maintains that the significance of an artwork lies not in the sophistication of its tools but in the experiences, memories, and intentions that motivate its creation. For him, technology becomes meaningful only when it serves an artistic necessity rather than dictating the direction of the work.

Questions of identity and perception further complicate this relationship. Palomeq’ approaches artistic identity as something that evolves through lived experience, cultural transformation, and changing forms of representation. His images remain deliberately open to interpretation, allowing meaning to extend beyond the artist’s original intentions through encounters with viewers.

Ultimately, his reflections return to a deceptively simple proposition: if every technological instrument disappeared, the essential conditions of creativity would remain. A thought, a blank surface, and a pencil would still be enough. In an era increasingly defined by artificial intelligence, Palomeq’ reminds us that the true source of art is not the technology that produces an image, but the human consciousness that gives it meaning.

www.camilopalomeq.com

Camilo Palomeq'
AMM: Your work moves between the handcrafted and the synthetic. When you place these two worlds in tension, are you exploring a conflict between human authorship and technological mediation—or are you questioning whether that distinction still matters?

Camilo Palomeq’: My work argues that the distinction between the human and the synthetic is more relevant than ever. With advancements in generative AI and large language models capable of replicating recognizable artistic styles in milliseconds, the relationship between authorship, originality, and creativity is undergoing a profound transformation. We are being forced to reconsider not only how images are made, but also what makes them meaningful. As an artist working in both traditional physical media and interactive design, I explore the ongoing tension between these two worlds.

AMM: You describe your images as suggestive rather than definitive. How much of your work emerges from conscious intention, and how much comes from impulses, associations, or desires that you only understand after the image already exists?

CP: Every composition begins with a deliberate idea, but over time, that idea can evolve beyond its original scope in both technique and interpretation. I like to have solid footing before beginning a piece, allowing the process of execution to determine whether the original idea needs to be reshaped or transformed.

As the work develops, the process itself begins to influence the outcome. The suggestive quality of my imagery comes from that openness in the execution. I am interested in creating images that leave room for interpretation. In that sense, the work is never entirely finished by my intentions alone; it continues to evolve through the ways it is seen, remembered, and interpreted by others.

Camilo Palomeq'
AMM: Identity is central to your practice, yet you work across fine art, film, and interactive media—forms that can continually reshape how a self is represented. Do you experience identity as something stable that technology helps reveal, or as something constantly constructed and reconstructed through images?

CP: I don’t believe identity is defined by the medium, platform, or technique, but rather by what the final work reveals about our experiences. Just as we change and mature over time, the forms and mediums we use to communicate evolve as well. My work reflects decades of technological and cultural changes through physical and interactive media, using these different forms to convey a specific time, place, or memory.

For me, the context in which an experience exists is an essential part of its meaning, ultimately revealing that identity need not to be either stable or entirely constructed.

Camilo Palomeq'
AMM: As a creative technologist, you work with tools capable of generating, transforming, and mediating experience. At what point does technology expand your imagination, and at what point do you fear it might begin to determine the way you imagine?

CP: All my ideas originate in my own experiences, thoughts, and imagination. Whether I’m creating an illustration, a stop-motion film, or an installation featuring the latest interactive projection mapping technology, these are simply a means of expressing these very human experiences. The tools may evolve with technological advances, but the ideas and intentions behind my work remain my own.

The dilemma arises when the capabilities of a tool begin to dictate the direction of the work simply because they are available or technically impressive. It is easy to become preoccupied with what a technology can do and lose sight of why a particular experience needs to exist in the first place.

I try to remain conscious of that distinction.

AMM: Your practice brings together traditional craft and digital innovation. If all technological tools were removed from your process tomorrow, what would remain essential to your artistic identity—and what would that reveal about the true source of your work?

CP: These tools are exactly that: tools. If they were removed, my artistic identity would remain fundamentally unchanged. The spark of an idea, a blank surface, and a pencil are all I really need to express my thoughts and emotions, whether for an audience of thousands or simply for myself.

Mariano Cornejo: Geometry as an Imagined Landscape at CENTRAL FINE

By
Art Miami Magazine Editorial Staff
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Mariano Cornejo: Geometries of an Imagined Landscape

The Argentine artist’s first solo exhibition with the Miami gallery explores the relationship between abstraction, spatial perception, and the expressive possibilities of watercolor and gouache.

MIAMI, FL — October 18, 2026. CENTRAL FINE presents Geometries of an Imagined Landscape, the gallery’s first solo exhibition with Argentine artist Mariano Cornejo (b. 1962, Salta, Argentina). Opening October 18 and continuing through November 16, 2026, the exhibition brings together geometric abstractions that challenge the conventional boundaries between landscape, architecture, and pictorial space.

For Cornejo, geometry operates not merely as a formal system but as a language through which imagined territories can emerge. His compositions are constructed from delicate lines, overlapping planes, and interconnected shapes that establish subtle relationships between depth, rhythm, and movement. Rather than depicting identifiable locations, the works suggest landscapes formed through perception, memory, and spatial imagination.

Watercolor and gouache play complementary roles in this visual investigation. The transparency and fluidity of watercolor introduce an element of uncertainty, while the greater opacity of gouache provides definition and structural clarity. Their interaction produces a tension between permanence and transformation, allowing geometric forms to appear simultaneously stable and in motion.

This dialogue between precision and openness is central to Cornejo’s artistic vocabulary. Lines establish boundaries only to have them visually questioned by overlapping surfaces, shifting relationships, and unexpected spatial configurations. Geometry becomes less a means of imposing order than an instrument for exploring how space can be imagined, organized, and experienced.

The exhibition also invites reflection on the historical relationship between geometric abstraction and landscape painting. Traditionally understood as distinct pictorial approaches, the two converge in Cornejo’s work. The landscape is no longer represented through recognizable natural elements but suggested through relationships of scale, proximity, repetition, and visual rhythm. The resulting compositions occupy an ambiguous territory between constructed architecture and imaginary geography.

An Artistic Practice Rooted in the Study of Form

Born in Salta, Argentina, in 1962, Mariano Cornejo studied at the Prilidiano Pueyrredón School of Fine Arts in Buenos Aires, graduating as a Professor of Drawing and Painting. He later received a scholarship from the Spanish Agency for International Cooperation and earned a Fine Arts degree from the Complutense University of Madrid.

Between 1986 and 1992, Cornejo pursued doctoral studies in Fine Arts in Barcelona, concentrating on the symbolism of form and the morphology of space. His academic interests also extended to symbolism and comparative religions, areas of inquiry that provide a broader intellectual context for his engagement with visual structures and representation.

Throughout his career, Cornejo has exhibited extensively in Argentina and internationally. His institutional presentations include Babel Series at the Museum of Modern Art of Buenos Aires (1992), Argentina Paints Well at the Museum of Contemporary Art of Salta (2006), a twenty-year retrospective at the same institution (2016), and Sitting Under a Tree: Retrospective at the Lola Mora Museum of Fine Arts in Salta (2025).

His work has also appeared in numerous exhibitions at Van Riel Gallery and Palatina Gallery, with international presentations extending to Madrid, Barcelona, Frankfurt, and New York.

Among his distinctions are the First Prize from the Argentine Association of Art Critics at the First Critics’ Painting Salon in Buenos Aires (1996), the Chandon Prize at ArteBA (2005), and his recognition as an Outstanding Artist by the City of Salta in 2023.

Beyond painting, Cornejo has developed interests in poetry, photography, and archaeology, particularly the cultural heritage of northwestern Argentina. These investigations reflect an artistic practice concerned with how forms, symbols, and visual systems participate in the construction of meaning.

With Geometries of an Imagined Landscape, CENTRAL FINE introduces Miami audiences to an artistic approach in which geometry transcends its mathematical associations to become a vehicle for imagination. Cornejo’s works propose that landscape need not originate in physical geography; it can also arise from the relationships between forms, the movement of the eye, and the possibilities of pictorial space.

Exhibition Information

Mariano Cornejo: Geometries of an Imagined Landscape

Venue: CENTRAL FINE
36 NE 54th Street, Miami, FL 33137

Exhibition Dates: October 18 – November 16, 2026

Opening Reception: Sunday, October 18, 2026, 6:00–8:00 PM

Gallery Hours: Tuesday, Thursday, and Saturday, 11:00 AM–5:00 PM

Website: www.centralfine.com

Anthony Manners: Painting Joy at Scale, Finding Freedom Through Color and Community

By
Rafael Montilla
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Anthony Manners

For Anthony Manners, a blank wall is more than an empty surface; it is an opportunity to capture the rhythm, identity, and collective spirit of a neighborhood. Through vibrant murals, lush tropical landscapes, and community-centered imagery, Manners transforms public spaces into visual expressions of joy, freedom, and belonging. His artistic practice is grounded in the belief that art can influence how people experience their surroundings and connect with one another.

In this interview with Art Miami Magazine, Manners reflects on the relationship between public art and community identity, describing his approach as one of observation and listening rather than imposing a predetermined narrative. His philosophy of “painting joy at scale” reveals a conscious commitment to creating environments where color, nature, and imagination offer a temporary escape from the emotional weight of everyday life.

Beyond the celebration of beauty, his work raises questions about memory, education, and personal truth. Images of children immersed in books and trees supported by literature reflect his belief in knowledge as a foundation for individual awareness and collective understanding. Meanwhile, his recurring tropical landscapes suggest an intuitive association between nature, freedom, and happiness.

Yet beneath his exuberant visual language lies a more private artistic dimension. Manners acknowledges the existence of a painting he would create solely for himself, one defined by surprising simplicity and an absence of color. This contrast reveals an intriguing tension between the artist’s public generosity and his private imagination.

Ultimately, Manners approaches painting as both a personal expression and a shared experience, reminding us that joy can be more than an emotion: it can become a deliberate artistic gesture capable of transforming the spaces we inhabit.

Iamkulorblind.org
@iamkulorblind

Anthony Manners
AMM: “A blank wall is a missed opportunity to tell a neighborhood who it is.” That suggests the neighborhood already knows itself and the wall just needs to catch up. But who decides what a neighborhood is — and when are you listening versus telling?

Anthony Manners: The lights. The sounds. The colors. The people and the movement. It’s all about the rhythm — the rhythm of the neighborhood decides what a neighborhood should be. Sometimes it’s crying out for what’s missing, what’s wanted. Like weeds sprouting through a lawn. I just sit and take everything in. I feel it and listen to its rhythm.

Anthony Manners
AMM: “I paint joy at scale.” Joy is generous, but it’s also a choice of what to show. What about the feelings that don’t fit — the tiredness, the ambivalence, the sadness? Where do they live, if not on your walls?

AM: I live in the space of joy. Painting at scale is about reinforcing the little things in life that bring happiness. Painting joy at scale is meant to drive away the tiredness, the ambivalence, the sadness — when you stand in front of my work, I want those feelings to leave the room.

Anthony Manners
AMM: The tropical foliage, the jungle of green — these are your signature motifs now. Is that a remembered landscape, a longed-for one, or a constructed one? What if the lushness is a way of not looking at something?

AM: I’ve never really sat and thought about the landscape I paint — the greenery. Maybe it’s because I associate lush, open spaces with freedom. And freedom often goes with joy.

Anthony Manners
AMM: Children absorbed in books, a tree trunk made of books, learning as literally what holds a community up. What did reading hold up in your life? And how much of the child you paint is the child you were versus the child you needed to be?

AM: Reading did two things for me growing up. It made me want to know more — but it also made me want to spread the truth. I grew up knowing who I was. But I felt people, in general, didn’t. Or just wanted to cover up truths.

Anthony Manners
AMM: You move between a three-story wall, a 24-inch canvas, and a paint-and-sip class where strangers make their first marks. As the work gets more generous — more public, more shared — what remains only yours? Is there a painting you’d make only if no one were invited in?

AM: There is. There is a painting I would make just for myself — and I think many people would be surprised at its simplicity, and its lack of color. And to answer the second part of your question: the joy. That’s the part of my work that will always be mine, no matter how much it grows.

In the Mood for Love: An Exploration of Emotion, Connection, and Contemporary Art in New York

By
Art Miami Magazine Editorial Staff
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In the Mood for Love:

VillageOneArt, New York | March 5 – April 11, 2026

In the Mood for Love, a group exhibition presented at VillageOneArt in New York City, brought together 19 contemporary artists whose diverse practices explored the complexities of human connection, emotional experience, and the evolving meanings of love.

Curated by Christy Dandan Qin and Ruoqi Amy Zhou, the exhibition invited audiences to consider love beyond conventional romantic narratives, opening space for reflections on intimacy, vulnerability, identity, and the relationships that shape human experience.

The participating artists were Chunqing Huang, Min Luo, Jingyu Xu, Min Huang, Yu Cheng, Leru Chen, Jeana Zhang, Anna Song, Yanzi Zhang, Shen Cai, Yangyang Wei, Pei Ou, I Chin Sung, Alexandra Evans, Julia Shen, Renee Magnanti, Xinyu Wo, Eunha Kim, Cheryl Ma, and Arom Ju.

Through the coexistence of different artistic perspectives, In the Mood for Love offered an opportunity to reflect on the emotional and psychological dimensions of contemporary life, suggesting that love is not merely a feeling but also a space of negotiation between individuality, vulnerability, and the desire for connection.

The exhibition opened on March 5, 2026, and remained on view through April 11, 2026, at VillageOneArt, 150 W 25th Street, Suite 403, New York, NY 10001.

Beyond the Gaze: Anastasiia Skisova on the Female Body, Autonomy, and the Limits of Representation

By
Rafael Montilla
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Anastasiia Skisova
BEYOND FEAR (SOLD)

In this thought-provoking interview with Art Miami Magazine, artist Anastasiia Skisova explores the complex relationship between visibility, identity, and autonomy in the representation of the female body. Reflecting on vulnerability, emotional distance, and the tension between artistic control and freedom, Skisova questions whether being seen necessarily means being understood—or possessed. Through her paintings, the female figure emerges as an autonomous presence that resists imposed meanings, challenges the viewer’s gaze, and preserves the right to remain unknowable.

AMM: Can the female body be made visible through painting without becoming an object of possession or interpretation? How do you negotiate the tension between representation and autonomy?

Anastasiia Skisova: I do not think this contradiction can disappear. To paint a body is to make it visible, and visibility always allows interpretation and judgment. But visibility is not the same as availability. I cannot control the viewer’s response, but I can refuse to make the figure perform or explain herself. She retains an inner space that remains inaccessible. For me, autonomy means that being seen does not make her fully knowable or available for possession.

Anastasiia Skisova
WITH THE GIRLS

AMM: Can the nude body ever exist outside cultural meanings, or does the absence of clothing simply reveal another layer of social and historical interpretation?

AS: I do not believe the body can ever be completely neutral. Nudity does not erase culture or history; it often makes them more visible. My intention is not to remove identity, but to suspend some immediate social signals, clothing, profession, status, prescribed roles. This allows the figure to be encountered first as a presence, before she becomes a category. The body remains culturally situated, but it cannot be fully explained by the meanings imposed on it.

Anastasiia Skisova
BROKEN AND STRONG (SOLD)

AMM: Your architectural background suggests an interest in structure, proportion, and control. At what point does artistic control give way to the autonomy of the painted figure?

AS: Structure does not necessarily mean domination. My architectural background helps me organize posture, rhythm, light, and space, but I do not want structure to close the meaning of the figure. Control ends when the painting begins to resist my original intention, when a gesture, tension, or expression creates something I did not plan. I create the conditions, but I also have to listen to what emerges. Freedom begins when the figure becomes more complex than my design for her.

Anastasiia Skisova
BEFORE DAWN (SOLD)

AMM: The emotional distance in your figures seems to resist the viewer’s desire for intimacy or psychological access. Is this distance primarily a philosophical position, or does it also reflect something personal?

AS: It is both philosophical and personal. I am interested in figures who do not owe the viewer emotional access, but I also recognize a need for protection in that distance. For me, distance is not the absence of emotion. It allows emotion to remain complex without becoming a performance or confession. The figure may be vulnerable, but she does not have to explain that vulnerability. Her silence is not emptiness; it is a boundary she controls.

Anastasiia Skisova
FRAGILE TENDERNESS (SOLD)

AMM: Every act of representation is shaped by the artist’s own perspective. How do you confront the limitations of your gaze when painting the female body, and what might remain invisible even to you?

AS: My gaze is also limited by my history, education, cultural inheritance, and personal experience. I cannot claim to see the female body outside those influences or to understand every experience it can contain. Painting makes me aware of those limits rather than allowing me to escape them. What I may still resist seeing are the places where my own desire for beauty, order, or protection becomes another form of control. That question remains open, and it is part of why I continue painting.

Anastasiia Skisova
Anastasiia Skisova
Anastasiia Skisova
FRAGILE TENDERNESS (SOLD)
Anastasiia Skisova

Art Marketing 101 en 2027: cómo promover tu marca y tu obra

By
Art Miami Magazine Editorial Staff
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Art Marketing 101 en 2027: cómo promover tu marca y tu obra
Art Marketing 101 en 2027: cómo promover tu marca y tu obra

Resumen

Este artículo propone un marco de mercadeo digital para artistas visuales de cara a 2027. Integra evidencia de tesis y artículos académicos sobre redes sociales y marca personal, los informes Art Basel y UBS de 2026 sobre el mercado y el coleccionismo, y la investigación reciente sobre optimización para motores generativos (GEO), percepción del arte creado con IA y procedencia digital. La tesis central es que el mercadeo del arte en 2027 deja de ser una suma de tácticas (publicar, competir, anunciar) y pasa a ser un sistema de confianza: una marca coherente, una presencia verificable y legible tanto para personas como para máquinas, y relaciones directas con coleccionistas. Se cierra con un plan de 90 días, indicadores de medición, las limitaciones de la evidencia y preguntas de discusión.

Palabras clave: mercadeo de las artes, marca personal, SEO, GEO, redes sociales, autenticidad, procedencia, IA generativa, venta directa.

1. Introducción: del «publica y espera» al ecosistema

Durante la última década, la guía popular del mercadeo artístico fue relativamente estable: construir un portafolio en línea, curarlo (entre 20 y 30 de las mejores piezas), redactar una declaración de artista, bloguear, participar en concursos, hacer networking en ferias, colaborar con otros creadores y mantener redes sociales con cuentas de empresa, programación de publicaciones y análisis de métricas. Ese repertorio, recogido en el documento base de este artículo, sigue siendo válido como higiene profesional. Lo que cambió es el entorno en el que opera:

  1. Los intermediarios de descubrimiento son otros. Cada vez más personas consultan asistentes de IA y resúmenes generados por buscadores antes de visitar un sitio web.
  2. La autenticidad se volvió un activo escaso. La proliferación de imágenes sintéticas hace que «hecho por una persona» y «verificable» sean señales de valor.
  3. El comprador cambió. La generación Z es hoy la que más gasta en arte entre los coleccionistas encuestados por Art Basel y UBS, y compra de forma más directa y más comunitaria que sus predecesores.
  4. El canal en línea maduró. Ya no es una promesa de reemplazo del mundo físico, sino un embudo de entrada.

Sobre esta base, el artículo organiza el mercadeo en cuatro pilares tomados de la literatura (marca, interacción, red de contactos y conversión) y los actualiza con evidencia de 2025 y 2026.

2. Marco conceptual: cuatro pilares

La tesis de maestría de Vila Brito (ISCTE, Lisboa) estudia cómo la presencia digital de ilustradores emergentes influye en su carrera y la organiza en cuatro áreas: marca (branding), interacción (engagement), red de contactos (networking) y conversión (ventas). Define la presencia digital como la suma de las actividades en línea del artista y de las que realizan su audiencia y sus grupos de interés en el entorno digital (Vila Brito, s. f.). Esa definición es útil porque desplaza el foco: la presencia no es solo lo que el artista publica, sino también lo que otros hacen con ello (compartir, citar, reseñar, recomendar).

Usaremos esos cuatro pilares como columna vertebral y añadiremos dos capas transversales propias de 2027: legibilidad para máquinas (SEO y GEO) y confianza y procedencia (autenticidad frente a la IA).

3. El mercado en 2026: qué dicen los datos

3.1 El canal en línea como embudo, no como trono

Según el informe Art Basel y UBS 2026 (McAndrew, 2026), el mercado global del arte creció 4 % en 2025 hasta unos 59 600 millones de dólares. Las ventas exclusivamente en línea cayeron 11 % a 9 200 millones, su nivel más bajo desde 2019, y su participación bajó a 15 % del total, porque las transacciones de mayor valor regresaron a los canales presenciales. Aun así, el propio informe subraya que lo digital sigue siendo un canal importante para captar nuevos compradores. Un comentario especializado reporta que los distribuidores atribuyeron alrededor de 40 % de sus ventas en línea a compradores nuevos, y que lo vendido en línea se concentra en obras de menos de 50 000 dólares (DeLuca, 2026, según Cultured).

Implicación para el artista: la web y las redes no son el lugar donde se cierra necesariamente la venta de mayor valor, sino donde se produce el primer contacto y se construye la confianza. Conviene diseñar el recorrido completo: descubrimiento en línea, relación sostenida (boletín, mensajes, grupos), encuentro presencial (taller, feria, exposición) y cierre.

3.2 El coleccionista de 2026

La encuesta Art Basel y UBS de coleccionismo global 2026 (McAndrew, 2026b), aplicada a coleccionistas de alto patrimonio, ofrece datos especialmente relevantes para el mercadeo directo:

  • La proporción de coleccionistas que compró directamente a artistas subió 6 puntos hasta 69 %, más del doble que en 2024.
  • La generación Z reportó el mayor gasto medio en arte, más del doble que cualquier generación mayor.
  • El 32 % de los coleccionistas citó Instagram o X como fuente de consejo, con mayor uso entre la generación Z y las mujeres, mientras que 22 % usó aplicaciones o herramientas de IA para informarse (frente a 4 % en 2024).
  • Los coleccionistas más jóvenes prefieren espacios cerrados: 42 % participa en grupos solo por invitación, como cuentas privadas o chats grupales, y son reacios a exhibir públicamente lo que poseen (Skeggs, 2026).
  • El 56 % de los coleccionistas de la generación Z compró a un artista que no conocía, frente a 36 % de los boomers; además asisten a eventos con frecuencia cercana a una vez por semana (The Art Newspaper, 2026).

Lectura crítica. La muestra es de personas de alto patrimonio, por lo que no representa a todo el público comprador de arte, y una parte del emprendimiento artístico opera en segmentos de precio mucho menores. Aun así, las tendencias (venta directa, descubrimiento social, uso creciente de IA y preferencia por comunidades íntimas) son consistentes con lo que la literatura cualitativa describe para artistas emergentes.

4. Pilar 1 · Marca: identidad, narrativa y coherencia

La literatura converge en que la marca personal es el activo central. Un estudio de caso sobre artistas visuales emergentes (Erasmus University, 2020) concluye que las identidades de marca distintivas favorecen una comunicación coherente y ayudan a ganar presencia tanto en redes como en el mundo artístico, y que Instagram es la plataforma que mejor acompaña esa comunicación. También advierte una tensión: la integridad artística puede entrar en conflicto con ambiciones de rendimiento, aunque sin impedir la autopromoción. Un estudio indonesio reciente sobre artistas jóvenes (Duha et al., 2025) identifica tres ejes de una estrategia eficaz en redes (marca personal, optimización del algoritmo y monetización) y señala que la coherencia visual y la narración refuerzan la interacción.

Recomendaciones aplicadas:

  1. Define tu tesis de marca en una frase (qué haces, para quién, con qué método y por qué importa). Debe ser comprobable en tu obra, no un eslogan.
  2. Redacta una declaración de artista y una biografía en dos versiones: una humana (emocional, con voz propia) y una factual (fechas, formación, exposiciones, colecciones, medios), pensada para que un buscador o un asistente de IA pueda extraerla sin ambigüedad.
  3. Sistematiza lo visual: paleta, tipografía, formato de imágenes, forma de fotografiar la obra. La coherencia reduce el costo cognitivo de reconocerte.
  4. Cuenta el proceso. Los bocetos, las fotos de taller y los tiempos de trabajo son contenido y, además, evidencia de autoría humana (ver sección 7).

5. Pilar 2 · Visibilidad: del SEO al GEO

5.1 El portafolio sigue siendo la base

El consejo clásico se mantiene: un portafolio curado (aprox. 20 a 30 obras), actualizado una o dos veces al año, con declaración de artista, página «Sobre mí» y, si se desea, tienda propia para evitar comisiones heredadas del modelo de galería. Un sitio propio es además el único activo digital que no depende de las reglas de una plataforma.

5.2 Qué es el GEO y por qué importa a un artista

La optimización para motores generativos (Generative Engine Optimization, GEO) fue formalizada académicamente por Aggarwal et al. (2024) en el congreso KDD. Los autores describen cómo los motores generativos sintetizan respuestas a partir de varias fuentes y dejan a los creadores con poco control sobre cuándo y cómo se muestra su contenido, y muestran experimentalmente que ciertas modificaciones pueden elevar la visibilidad en las respuestas hasta en 40 %. Reportes divulgativos del mismo trabajo señalan que añadir citas, estadísticas y atribuciones de fuentes figura entre las técnicas más efectivas.

El contexto industrial apunta en la misma dirección, aunque con evidencia menos rigurosa. Un informe de eMarketer (Elliott, 2025) sostiene que menos de 10 % de las fuentes citadas por ChatGPT, Gemini y Copilot aparecen entre los diez primeros resultados orgánicos de Google para la misma consulta, de modo que posicionarse bien en SEO no garantiza ser citado por la IA. Los análisis de agencias hablan de métricas como frecuencia de citación, menciones de marca en plataformas de IA y «cuota de respuesta». Conviene leer estas afirmaciones con prudencia: provienen de consultoras con interés comercial y los motores cambian con rapidez.

5.3 Buenas prácticas SEO y GEO para un sitio de artista

Lo siguiente son recomendaciones profesionales derivadas de estos principios, no resultados de un estudio sobre artistas:

  • Páginas por entidad. Una página clara para el artista, una por serie y una por obra relevante, con título, año, técnica, dimensiones, disponibilidad y enlace a la serie.
  • Datos estructurados. Marcado schema.org (por ejemplo, Person y VisualArtwork) para que buscadores y asistentes interpreten quién eres y qué creaste.
  • Contenido verificable y citable. Cronología de exposiciones, premios, publicaciones y colecciones con enlaces a fuentes externas. Un ensayo o entrada de blog con datos concretos y referencias tiene más probabilidad de ser citado que un texto genérico.
  • Texto alternativo y pies de foto descriptivos en cada imagen; las máquinas «leen» tu obra a través de ellos.
  • Presencia fuera de tu sitio. Perfiles consistentes en plataformas de portafolio, medios de arte, listados de ferias y bases de datos de exposiciones. La coherencia del nombre, la biografía y los enlaces ayuda a que los sistemas te reconozcan como una misma entidad.
  • Permisos de rastreo conscientes. Decide qué robots pueden acceder a tu sitio: ser citado por asistentes de IA y evitar el entrenamiento no consentido son objetivos que a veces entran en tensión (ver sección 7).

6. Pilar 3 · Interacción: redes sociales y video corto

La investigación académica específica sobre mercadeo en redes para artistas visuales es todavía escasa; un estudio multicaso reciente lo reconoce expresamente y concluye que hace falta más investigación (McGrath, 2024). Lo disponible es mayormente cualitativo:

  • Instagram como galería y mercado. Una tesis de la Universidad Tecnológica de Auckland (Shahzadi, 2020) analiza cómo los artistas independientes usan Instagram para promocionar y vender, con atención a las técnicas, al lenguaje y a los recursos semióticos empleados.
  • Video corto. Una tesis finlandesa (Tran, 2024) explora el papel de los videos breves en la autopromoción visual y propone consideraciones para optimizar su producción a partir de casos y datos de perfiles reales.
  • Marca y algoritmo. Duha et al. (2025) vinculan la coherencia visual y la narración con mayor interacción y competitividad.

Criterios prácticos para 2027:

  1. Elige pocas plataformas y sostenlas. Mejor dos canales con ritmo estable que cinco abandonados. Usa cuentas profesionales y herramientas de programación y analítica, como recomienda la guía clásica.
  2. Prioriza video corto con proceso, no solo imágenes terminadas: tiempo acelerado, detalles de textura, montaje de exposición, visitas al taller.
  3. Trata las redes como descubrimiento y no como cierre. Los propios coleccionistas jóvenes describen las redes como el lugar donde conocen artistas, y las ferias, galerías o eventos como el paso siguiente (Affordable Art Fair, 2026).
  4. Construye un canal propio. Un boletín por correo o un grupo de mensajería con invitación responde a la preferencia por espacios íntimos y reduce la dependencia del algoritmo.
  5. Mide. Compara qué publicaciones generan visitas al portafolio, suscripciones o consultas, no solo «me gusta».

7. Capa transversal · Autenticidad, IA y procedencia

7.1 La paradoja de la etiqueta «hecho por IA»

La evidencia experimental es consistente. Horton et al. (2023), en seis experimentos con 2 965 participantes, encontraron que las personas devalúan el arte etiquetado como creado por IA en varias dimensiones, incluso cuando dicen que es indistinguible del humano; además, comparar obras etiquetadas como humanas con otras etiquetadas como IA aumenta la percepción de creatividad humana. Millet et al. (2023) observaron menos asombro ante obras etiquetadas como IA, aun cuando eran idénticas. Un estudio de la Rotterdam School of Management (2024) con 248 personas halló que la etiqueta redujo la disposición a pagar y la creatividad percibida, aunque también reportó interés genuino por el arte generado por IA. Un estudio con 553 encuestados registró una caída del interés tras revelar el uso de IA (de 5,09 a 4,75 en promedio; Universitas Prasetiya Mulya, s. f.).

Implicación: la transparencia sobre el proceso es un diferenciador para quien trabaja de forma manual y un riesgo reputacional para quien oculta el uso de IA. Una política de divulgación clara protege la marca.

7.2 Un mercado saturado de imágenes sintéticas

Un estudio sobre el mercado de imágenes (Bauernschmitt, 2026) reportó que, en marzo de 2026, Adobe Stock listaba unos 432 millones de elementos generativos, casi la mitad de su oferta declarada. La abundancia de imágenes sintéticas encarece la señal de autoría verificable. Al mismo tiempo, la IA se usa para fabricar cartas de procedencia, sitios de galería y cronologías falsas (Barton, 2026), lo que obliga a los artistas legítimos a documentar mejor su trayectoria.

7.3 Procedencia técnica: C2PA, metadatos y marcas de agua

Parsons y Collomosse (2024) contrastan tres tecnologías complementarias de procedencia (metadatos, huellas digitales y marcas de agua) como base de señales de confianza para imágenes reales y generativas. En el ámbito de la práctica artística, Kasra (2026) presenta un flujo de trabajo para integrar metadatos de procedencia, incluido el estándar C2PA, en procesos creativos existentes, reconociendo sus límites. Se proyectan también etiquetas de «hecho por humanos» y sellos de verificación, aunque los análisis disponibles las describen como proyecciones comerciales aún inmaduras (Let’s Data Science, 2025), por lo que no deben tomarse como un estándar consolidado.

7.4 Protección de la obra: herramientas y sus límites

Glaze y Nightshade, desarrolladas en la Universidad de Chicago, alteran de forma imperceptible las imágenes para dificultar el aprendizaje de estilos por parte de modelos de IA. Sus creadores las presentan como un recurso de apalancamiento en un espacio poco regulado, no como una solución integral (ABC News/AP, 2024). Investigadores de Cambridge y colaboradores (2025) mostraron con LightShed que estas protecciones pueden detectarse y eliminarse, de modo que no garantizan protección. Es más realista combinar capas: cláusulas y avisos de derechos en tu sitio, metadatos, revisión de los términos de cada plataforma, exclusión (opt-out) cuando exista, y asesoría legal. El estado legal del entrenamiento de IA con obras protegidas sigue sin consenso (Gelato, 2026).

7.5 Recomendación: política pública de IA y evidencia de proceso

  1. Publica en tu sitio una declaración de uso de IA (qué haces y qué no haces con ella).
  2. Conserva evidencia de proceso: archivos con capas, fotos de taller, bocetos con fecha, registros de tiempo.
  3. Incorpora metadatos de autoría y, cuando tu flujo lo permita, credenciales de contenido.
  4. Mantén un registro público de trayectoria verificable (exposiciones, publicaciones, colecciones) con enlaces.

8. Pilar 4 · Red de contactos y conversión

8.1 Networking y comunidad, ahora con más peso

Las tácticas del documento base conservan su vigencia: asistir a exposiciones y ferias, llevar tarjetas, unirse a organizaciones de artistas, colaborar con otros creadores o con músicos y marcas, participar en iniciativas comunitarias, subastas benéficas y talleres, y enviar obra a sitios de publicación de arte o a concursos. El informe de mercado respalda lo presencial: las ventas en ferias llegaron a 35 % de la facturación de los marchantes, la proporción más alta desde 2022 (McAndrew, 2026). Y la generación Z, la más activa en redes, es también la que más valora la comunidad y los eventos.

Actualización 2027:

  • Eventos íntimos. Visitas de taller, cenas con obra, lanzamientos en espacios pequeños, exposiciones colectivas con tema definido: el formato pequeño encaja con la preferencia por la cercanía.
  • Colaboraciones con lógica de audiencia. Elige socios cuyo público se parezca al tuyo (otros artistas, diseñadores, marcas afines, músicos) y define de antemano qué aporta cada parte.
  • Concursos y convocatorias con criterio. Úsalos por el sello y la visibilidad en los sitios de los organizadores, no como estrategia única.

8.2 Conversión: venta directa con fricción baja

Con 69 % de coleccionistas comprando directamente a artistas (McAndrew, 2026b), la conversión depende de reducir fricción y aumentar confianza:

  • Precios y disponibilidad claros o un proceso de consulta rápido.
  • Fichas de obra completas (técnica, medidas, edición, certificado de autenticidad, política de envío y devolución).
  • Opciones de entrada para nuevos compradores (obra en papel, ediciones, obra pequeña) sin devaluar la marca.
  • Seguimiento personalizado: responder rápido, recordar el contexto, agradecer y mantener el contacto después de la compra.
  • Compradores satisfechos como promotores: una obra en la pared de un coleccionista actúa como mercadeo continuo.

9. Plan de 90 días

Días 1 a 30 · Fundamentos

  • Redactar tesis de marca, declaración de artista y biografía factual.
  • Auditar el portafolio: reducir a las 20 a 30 mejores obras y completar las fichas.
  • Implementar datos estructurados, texto alternativo y una cronología verificable.
  • Publicar la declaración de uso de IA y organizar el archivo de proceso.

Días 31 a 60 · Visibilidad y comunidad

  • Elegir dos plataformas; publicar 2 a 3 veces por semana con video corto de proceso.
  • Lanzar un boletín o grupo con invitación y su primer envío.
  • Contactar a 10 posibles colaboradores o espacios para un evento íntimo.

Días 61 a 90 · Conversión y medición

  • Realizar un evento o visita de taller y registrar los contactos.
  • Probar una oferta de entrada y una comunicación de seguimiento.
  • Revisar analítica y ajustar: repetir lo que lleve a visitas cualificadas y consultas.

10. Cómo medir

Indicadores sugeridos por pilar (a definir con metas realistas según tu punto de partida):

  • Marca: búsquedas de tu nombre, menciones en medios, consistencia de perfiles.
  • Visibilidad: visitas orgánicas al sitio, posiciones para consultas clave y, en GEO, frecuencia con que asistentes de IA mencionan o citan tu nombre (revisión manual periódica con las mismas preguntas).
  • Interacción: guardados, compartidos, respuestas y mensajes directos más que «me gusta»; suscriptores del boletín.
  • Red: contactos nuevos por evento, colaboraciones iniciadas, invitaciones recibidas.
  • Conversión: consultas, ventas directas, tasa de recompra y compradores que traen a otros.

11. Limitaciones de la evidencia

  1. Escasez de investigación revisada por pares sobre mercadeo digital específico para artistas visuales: buena parte de lo citado son tesis de maestría, estudios de caso o trabajos de pequeña muestra (McGrath, 2024; Vila Brito, s. f.; Shahzadi, 2020; Tran, 2024), útiles para generar hipótesis pero poco generalizables.
  2. Datos de mercado centrados en el alto patrimonio. La encuesta de coleccionismo no representa a compradores de menor presupuesto.
  3. GEO es un campo joven. El estudio académico base es de 2023 y 2024, y gran parte de la evidencia posterior proviene de la industria, con posibles conflictos de interés; los motores cambian con frecuencia.
  4. Estudios de percepción de IA miden reacciones a etiquetas en contextos experimentales, no necesariamente decisiones reales de compra.
  5. Cifras divergentes. Algunos sitios secundarios reportan cifras de mercado distintas de las del informe oficial; aquí se priorizaron las fuentes primarias (Art Basel y UBS) y los medios que las citan.
  6. Las proyecciones a 2027 son inferencias, no resultados observados.

12. Conclusión

El mercadeo artístico de 2027 premia la combinación de tres cosas: una marca reconocible, una presencia verificable y relaciones directas. Las tácticas clásicas (portafolio, redes, concursos, ferias, colaboraciones) siguen funcionando, pero ahora deben integrarse en un sistema que sea legible para personas y para máquinas, transparente sobre el uso de IA y diseñado como un recorrido que comienza en línea y se consolida en la comunidad. Para quien investiga, el campo ofrece una agenda abierta: estudios con muestras mayores, mediciones del efecto del GEO en artistas reales y análisis de cómo la divulgación de procesos y credenciales de procedencia influye en la compra.

13. Preguntas de discusión

  1. ¿En qué medida el modelo de cuatro pilares (marca, interacción, red, conversión) explica la carrera de un artista que vende principalmente por Instagram? ¿Qué variables faltan?
  2. Si el canal en línea funciona como embudo, ¿cómo cambia la asignación de tiempo y presupuesto entre lo digital y lo presencial?
  3. ¿Qué tensiones éticas surgen entre querer ser citado por asistentes de IA y rechazar el entrenamiento no consentido con obras propias?
  4. Diseña un experimento para medir si declarar un proceso 100 % manual aumenta la disposición a pagar en un público real, y no solo en un laboratorio.
  5. ¿Cómo debería un artista que usa IA como herramienta comunicar su proceso sin perder valor percibido?

Referencias

Nota: se indican el tipo de fuente y su URL cuando está disponible. Las tesis no son necesariamente revisadas por pares.

  • ABC News/AP (2024). Artists are taking things into their own hands to protect their work from generative AI. https://abcnews.go.com/Business/wireStory/artists-taking-things-hands-protect-work-generative-ai-112056782
  • Affordable Art Fair (2026). Is Gen Z rewriting the rules of art collecting? https://affordableartfair.com/nl/inspiration/are-gen-z-rewriting-the-rules-of-art-collecting/
  • Aggarwal, P., Murahari, V., Rajpurohit, T., Kalyan, A., Narasimhan, K. y Deshpande, A. (2024). GEO: Generative Engine Optimization. Actas de ACM SIGKDD 2024. arXiv:2311.09735. https://arxiv.org/abs/2311.09735
  • Art Basel y UBS (2026). The Art Basel and UBS Global Art Market Report 2026 (McAndrew, C., Arts Economics). https://www.artbasel.com/stories/art-basel-and-ubs-global-art-market-report-2026-art-market-trends
  • Barton, J. (2026, 2 de marzo). Artificial Authenticity. ArtsWave. https://artswave.org/?p=2543
  • Bauernschmitt, L. (2026). Image Market – Business Trends 2026 (resumen en Tenckhoff). https://tenckhoff.de/en/germany-lower-saxony/ai-divides-image-market-new-study-reveals-deep-divide
  • DeLuca, R. (2026). Análisis del informe Art Basel y UBS 2026. Cultured Magazine. https://www.culturedmag.com/?p=81553
  • Duha, R. K. F., Devira, R. P., Fadhilah, I. y Sinaga, O. (2025). Strategi pemasaran media sosial yang efektif untuk seniman muda. Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain, 2(2). https://garuda.kemdiktisaintek.go.id/author/view/8390014
  • Elliott, N. (2025, 4 de noviembre). Generative Engine Optimization in 2026. eMarketer (informe de industria). https://content-na1.emarketer.com/generative-engine-optimization-2026
  • Erasmus University Rotterdam (2020). Online art for everybody’s sake: How emerging visual artists market their personal brand on social media (tesis). https://thesis.eur.nl/pub/55320/
  • Gelato (2026). How to protect your art from AI. https://www.gelato.com/blog/how-to-protect-your-art-from-ai
  • Horton, C. B., White, M. W. e Iyengar, S. S. (2023). Bias against AI art can enhance perceptions of human creativity. Scientific Reports, 13. https://doi.org/10.1038/s41598-023-45202-3
  • Kasra, M. (2026). Authenticity and traceability for artists in the age of generative AI. New Media Caucus Symposium, Arizona State University. https://rr.newmediacaucus.org/authenticity-and-traceability-for-artists-in-the-age-of-generative-ai
  • Let’s Data Science (2025). Brands adopt human-made certification for authenticity (nota de industria). https://letsdatascience.com/news/brands-adopt-human-made-certification-for-authenticity-cc64b689
  • McAndrew, C. (2026a). Informe de mercado Art Basel y UBS 2026 (véase Art Basel y UBS, 2026).
  • McAndrew, C. (2026b). The Art Basel and UBS Survey of Global Collecting 2026. https://www.artbasel.com/stories/from-ai-to-gen-z–everything-to-know-about-the-2026-survey-of-global-collecting
  • McGrath, L. (2024). Social media for visual artists: A multi-case study. Kennesaw State University. https://digitalcommons.kennesaw.edu/undergradsymposiumksu/spring2024/spring2024/179/
  • Millet, K. et al. (2023). Estudio sobre arte etiquetado como creado por IA. Computers in Human Behavior (resumen en PsyPost). https://www.psypost.org/artworks-are-perceived-as-less-creative-and-aesthetically-valuable-if-they-are-labeled-as-ai-made/
  • Parsons, A. y Collomosse, J. (2024). To authenticity, and beyond! Building safe and fair generative AI upon the three pillars of provenance. IEEE Computer Graphics and Applications. https://research.adobe.com/publication/to-authenticity-and-beyond-building-safe-and-fair-generative-ai-upon-the-three-pillars-of-provenance
  • Rotterdam School of Management (2024). The value of AI-generated art. https://www.rsm.nl/discovery/2024/value-of-ai-generated-art/
  • Shahzadi, N. (2020). Instagram: A digital marketplace for independent visual artists (tesis de maestría). Auckland University of Technology. https://openrepository.aut.ac.nz/items/46b90f08-7d08-4366-b479-7e3f35a68f9d
  • Skeggs, T. (2026). Encuesta de coleccionismo global, hallazgos sobre la generación Z. Art Basel. https://www.artbasel.com/stories/gen-z-survey-of-global-collecting-2026
  • The Art Newspaper (2026, 8 de octubre). Wealthy Gen Z collectors are the art market’s biggest spenders, survey finds. https://www.theartnewspaper.com/2026/10/08/wealthy-gen-z-collectors-are-the-art-markets-biggest-spenders-survey-finds
  • Tran, A. (2024). Optimization of social media video in visual art self-marketing (tesis). https://www.theseus.fi/handle/10024/850780
  • Universidad de Cambridge, Centro de IA (2025, 23 de junio). AI art protection tools still leave creators at risk, researchers say (sobre LightShed). https://www.ai.cam.ac.uk/news/ai-art-protection-tools-still-leave-creators-at-risk-researchers-say-1/
  • Universitas Prasetiya Mulya (s. f.). Machine kitsch theory: Contrasting shifts in public perceptions towards AI-generated art. https://journal.lppmunindra.ac.id/index.php/Jurnal_Desain/article/view/26970
  • Vila Brito, M. (s. f.). The digital presence of emerging visual artists and its impact on career growth (tesis de maestría). ISCTE-IUL. http://hdl.handle.net/10071/27348
  • Documento base aportado por el usuario: Art marketing 101: How to promote your art (guía divulgativa sobre portafolio, concursos, networking, colaboración y redes sociales).
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