AC Latin Art
San Mateo 3761
Buenos Aires
1425
Buenos Aires
Argentina
Phone: +54-11-3343-5606
Mobile Ph: +1 786 6959439
Email : [email protected]
URL : www.accontemart.com
Maria Cecilia Maguire
Maria Cristina de la Vega (Owner)
About
Our proposal seeks to show sections of the new Argentine art, some of the many artistic expressions of young artists whose works seek techniques and materials are varied, a mapping of Buenos Aires, without thereby be subject. We understand the international art fairs as a large window display and a great opportunity for our most outstanding and creative artists.
Silvia Salvagno Arenas IV
Almudena Fernandez Vicens Holding Stillness
Dalia Berlin Menina Postura
Soledad Bence Senderos y cuentos
Marianela Perez Origami
About the Artist
On one side, I developed this work with the intent of bringing nature itself to the canvas and letting her co-create with the pigments, inks, and water in a harmonious dance. On the other hand, there’s a deeper layer of meaning and reflection on the ever-changing nature of life and our human ability to adapt and reinvent ourselves in response to that continuous change.
Nature and life itself, in their breathtaking beauty and fleeting ephemerality, are the constant sources of inspiration for my work. Since I first arrived by the sea, I have been captivated by its endless energy, vibrant life, and the ever-changing colors that shift with the passing hours, days, and seasons.
SILVIA SALVAGNO is a nomad visual artist. Since leaving her home in Argentina over 20 years ago, she has
lived in many countries around the world. This transformative journey has deeply influenced her artistic
language.
She studied Painting and Art History at Belgium's École des Arts de Braine L'Alleud and trained with master
Manuel DeRugama in Mexico.
She works with oils and watercolors, exploring topics of ephemerality, impermanence, and fragility of life.
She is currently pursuing a master's degree in Art History, Cultural Heritage, and Visual Culture at Faculdade
de Letras da Universidade do Porto. Her research centers on contemporary art that reinterprets the ancient
weaving traditions of pre-Columbian America, with a particular focus on the contributions of women in
safeguarding the intangible cultural heritage of indigenous communities.
Her work has been showcased in galleries and art fairs across Europe, Latin America, and Asia, with recent
exhibitions at the renowned Volta Basel and during the United Nations World Climate Conference COP28 in
Dubai. Her pieces are part of collections in the USA, Mexico, Switzerland, Argentina, Belgium, and Italy, in the
homes of fellow nomads worldwide.
gauze, plaster, gesso and soft washes of pigments weaving
texture and emotion into a tactile meditation on our inner
worlds and the silent strength required to carry them. The
muted, sculpted surface evokes a vessel-like form—how we
carry stories, thoughts, and quiet storms beneath the skin. A
tender reflection on transformation, memory, and the quiet
resilience of stillness.
My work as a painter and printmaker is characterized by heavily textured surfaces, created through layers of paint and the use of different materials to create monochromatic abstract works.
My creative process is based on gradually eliminating elements in search of the essence of the piece, favoring a minimalist expression achieved through a distinctive monochromatic palette and open spaces. I am interested in exploring the creative process through interactive design. There is a mutual enrichment between the transformation of the materials used in each piece and the original idea. Each new attempt, each new iteration, shapes and develops the original idea.
Organic forms, architectural structures, and familiar landscapes become starting points for my monotypes and paintings. They are visual influences and conceptual possibilities that materialize in my work through the symbiosis of image and material.
My work invites us to reflect on who we are, addressing the complexity of life. I seek to develop an abstract language that represents how everything is susceptible to transformation into another reality, with the hope that each person can feel and understand it in different ways, generating a dialogue between the work and the audience.
Whether working on two-dimensional surfaces or sculptural forms, Berlin blends fragments from the past with global cultural symbols, infusing each piece with a quiet surrealism. Her process is intuitive, guided more by feeling than plan — a dance between control and spontaneity.
Series Contemporary Meninas
In Dalia Berlín’s work, the figure of the Menina—the Baroque icon and mirror of the gaze in Velázquez’s painting—becomes a territory of reinterpretation and transformation. Berlín does not reproduce the image; she deconstructs it, reimagining it within a time where identity is plural and color replaces lineage as a sign of belonging.
The Menina’s body, traversed by planes of color, textures, and graphic fragments, becomes a field of tension between the classical and the urban, between the memory of art and the pulse of contemporaneity. The artist proposes a dialogue between past and present, where painting rewrites itself—as if Velázquez had left his mirror open for new gazes to step into the center of the scene.
Bence approaches paint as a form of free writing — an interweaving of impulses, pauses, and repetitions that create an inner rhythm, almost musical. There is no dominant figure, but rather a continuous flow in which the visual approaches the sonic, and the gaze becomes a way of perceiving the vibration of color.
Through the layering of paint, the alternation of firm strokes and translucent passages, she constructs a space where emotion takes form. Her painting does not seek to represent, but to invoke — the energy of movement, the memory of what remains unspoken, the freedom of the pictorial act as a vital experience.
Lic. Cristina de la Vega
Studied Communications and Advertising at the University of Salvador, Buenos Aires, Argentina.
Subsequently, I studied at various art schools:
Students Art League of New York,
Greenwich Art Society,
SilvermineIn Soledad Bence’s work, painting becomes a territory of emotional and perceptual expansion. Each gesture is a trace of movement, a record of the instant that transforms the surface into a field of resonances. Her pictorial language, close to lyrical abstraction, unfolds between the spontaneity of gesture and a chromatic sensitivity that seems to breathe from intuition.
Bence approaches paint as a form of free writing — an interweaving of impulses, pauses, and repetitions that create an inner rhythm, almost musical. There is no dominant figure, but rather a continuous flow in which the visual approaches the sonic, and the gaze becomes a way of perceiving the vibration of color.
Through the layering of paint, the alternation of firm strokes and translucent passages, she constructs a space where emotion takes form. Her painting does not seek to represent, but to invoke — the energy of movement, the memory of what remains unspoken, the freedom of the pictorial act as a vital experience.
Arts Center.
In her Origami series, Marianela Pérez translates the subtlety of folding into the realm of metal. Inspired by the ancient Japanese art of transforming a sheet of paper into form, the artist reverses the logic of material: fragility becomes solidity, and the delicate gesture turns into technical precision. Galvanized steel, coated with layers of automotive paint, transforms into a surface that evokes the smoothness of paper yet asserts itself as a sculptural body.
Color —vibrant, reflective, and carefully chosen— heightens the tension between the industrial and the poetic. Each piece stands as a synthesis of geometry and emotion, of calculation and the suspended movement of a fold. Within that intersection, Pérez invites us to contemplate the paradox of a contemporary origami: lightness turned into permanence, the memory of gesture solidified into matter.
Lic. Cristina de la Vega
Series Origami, 2024
In her Origami series, Marianela Pérez translates the subtlety of folding into the realm of metal. Inspired by the ancient Japanese art of transforming a sheet of paper into form, the artist reverses the logic of material: fragility becomes solidity, and the delicate gesture turns into technical precision. Galvanized steel, coated with layers of automotive paint, transforms into a surface that evokes the smoothness of paper yet asserts itself as a sculptural body.
Color —vibrant, reflective, and carefully chosen— heightens the tension between the industrial and the poetic. Each piece stands as a synthesis of geometry and emotion, of calculation and the suspended movement of a fold. Within that intersection, Pérez invites us to contemplate the paradox of a contemporary origami: lightness turned into permanence, the memory of gesture solidified into matter.