MILAN.- In her paintings, Marina Rheingantz expresses herself through color and gesture, allowing shifting spaces and atmospheres to emerge from the surface of the canvas. Thick patches of oil paint, with their tactile quality, evoke the weave of fabric and the texture of landscape. Since her beginnings in 2005, the artist has stripped her compositions of any representational traces, preserving the landscape only as structural framework for abstract horizons and imagined depths. For nearly a decade, Rheingantz has developed a body of textile works, initially through embroidery and, more recently, though intricately woven jacquard, revealing strong analogies between her pictorial and textile techniques. In both, she employs a rhythmic gesture that, on her canvases, translates into surfaces animated by lines and patches of color acting as volumes and masses.

For the exhibition Rodamoinho, Rheingantz presents a group of recent works that expand her dialogue between painting and weaving, between abstraction and the sedimentation of memory.

Marina Rheingantz reinterprets landscape painting through compositions that combine the formal structure of motifs and color fields with gestural and instinctive marks, guided by a personal archive of weather events, memories, photographs, and places. Her canvases generate vast imaginary spaces, dissolving topography into minimal and allusive elements. In these expansive, atmospheric works, the pictorial surface prevails over the sharpness of the image, giving rise to an elusive, oscillating sense of spatiality. Among her most recent solo exhibitions are: Iris, Bortolami Gallery, New York, United States (2025), Mirage, Musée des Beaux-Arts de Nîmes, Nîmes, France (2025); Maré, White Cube Mason’s Yard, London, United Kingdom (2023); Sedimentar, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022); Marina Rheingantz, FRAC Auvergne, Clermont-Ferrand, France (2021); Madrigal, Zeno X Gallery, Antwerp, Belgium (2021); Todo mar tem um rio, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2019). She has also taken part in numerous group exhibitions, including: Estalo – 14ª Bienal do Mercosul, Porto Alegre, Brazil (2025); Cloudwalker, Museum Voorlinden, Wassenaar, The Netherlands (2024); Abrasive Paradise, KUNSTHAL KAdE, Amersfoort, The Netherlands (2022); Nature Loves to Hide, Fortes D’Aloia & Gabriel + Lévy Gorvy, Palm Beach, USA (2021); 1981–2021 Arte Contemporânea Brasileira na Coleção Andrea e José Olympio Pereira, CCBB – Centro Cultural do Banco do Brasil, Rio de Janeiro, Brasile (2021); Casa Carioca, MAR – Museu de Arte do Rio, Rio de Janeiro, Brasile (2020); Mínimo, múltiplo, comum, Estação Pinacoteca, San Paolo, Brasile (2018). Her works are part of major public collections, including: Centre Pompidou, Paris, France; Pinault Collection, Paris, France; Centro Cultural São Paulo, São Paulo, Brazil; Instituto Inhotim, Brumadinho, Brazil; Instituto Itaú Cultural, São Paulo, Brazil; MAM – Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Museu Serralves – Museu de Arte Contemporânea, Porto, Portugal; Museum Voorlinden, Wassenaar, The Netherlands; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; Taguchi Art Collection, Tokyo, Japan; The Rubell Family Collection, Miami, USA.