01. CURATORIAL STATEMENT
What presence endures when matter becomes an algorithm?
The living… cells, fluids, impulses, breaths and palpitations begin to be translated, classified, and projected into predictive models, often exceeding our own sensitivity. A vast data cloud expands over experience, organizing movements, desires, memories, and actions, as if the world could be fully read, classified, and synthesized. Yet something always escapes: a minimal organic gesture, a trace, a presence that resists calculation; the force of what we call “the living.”
At this threshold, the distinction between natural and artificial no longer operates as an opposition, but as a blurred territory. Technologies simulate organic textures, while bodies adapt to rhythms imposed by interfaces and devices. Nature appears not as landscape, but as an unavoidable, insistent force, reminding us that we remain matter affected by what surrounds us. The tears of androids and virtual entities already imagined in the stories of Asimov and the frames of Wong Kar Wai point to the persistence of the transcendental and the deeply human over logic pushed to its extreme.
Nature in Presence focuses on this point of friction: works that interrogate sensitivity in times of automation; gestures that recover the density of the living; practices that confront the illusion that everything can be indexed. Between the biological and the synthetic, between body and code, we seek that which still pulses.
02. CATEGORIES
1 CATEGORY VISUAL ARTS : Painting, drawing, photography, sculpture, installation, textile, ceramics, object-based work, mixed media.
2 CATEGORY DIGITAL ART AND NEW MEDIA: Video art, generative works, animation, sound installations, creative coding, XR, and hybrid practices.
3 CATEGORY LIVE ARTS AND PERFORMANCE: Actions, interventions, site-specific activations, and works in public space.
4 CATEGORY AUDIOVISUAL CREATION AND EXPANDED CINEMA: Short films, experimental documentary, visual essays, video poems. Selected works may also circulate through LATINISMO Asia Chapter during the second half of 2026.
5 CATEGORY COMMUNITY ART AND TERRITORIAL PRACTICES: Workshops, collaborative projects, pedagogy, memory practices, living archives, and situated processes.
TOTAL SELECTION: 30 artists.
03. REGISTRATION FEE
Single fee: USD 35 per proposal.
Payment must be made through the official application form available on the website.
The registration fee is non-refundable under any circumstances.
04. REQUIRED DOCUMENTATION (ONE SINGLE PDF)
File name: LastName_FirstName_Category.pdf
(or Collective_Name_Category.pdf)
The PDF must include, in the following order:
- Curriculum Vitae, including a brief introductory statement.
- Portfolio (up to 10 high-resolution images; video or web links if applicable).
- Project proposal (maximum 500 words) linked to the curatorial axis.
- Mandatory technical information:
- Title
- Author(s)
- Technique / materials
- Year
- Dimensions (or duration for audiovisual works)
- Artist photograph (frontal portrait, vertical format, minimum 2000 px height) for the catalog.
- Signed application form and signed Terms and Conditions (attached as PDF).
Accepted languages: Spanish, English, or Portuguese.
05. SHIPPING AND LOGISTICS
Each artist is fully responsible for shipping, insurance, customs procedures, and all associated costs until delivery to the address indicated by Latinismo in New York.
Artworks must arrive ready for installation, including frames, supports, or technical instructions.
Deadline: artworks must be received no later than 10 days prior to installation. Late arrivals will not be exhibited.
The use or dissemination of any logistical information provided by Latinismo for purposes other than shipment is strictly prohibited.
06. WHAT LATINISMO OFFERS
– Exhibition in New York as part of the 2026 program.
– Curatorial guidance and accompaniment.
– Inclusion in the official catalog and circulation within the New York art market.
– Professional photographic and audiovisual documentation.
– Promotion, press outreach, and academic programming.
– Articulation with Latin American consulates in New York and international partnerships.
– A creative art residency in New York City for one of the selected artists
07. SELECTION PROCESS
The selection will be made by the Latinism Curatorial Committee and a specialized jury, composed of a panel of four (4) experts.
CRITERIA :
1. Relevance of the proposal in relation to the curatorial axis of the call.
2. Conceptual solidity and clarity in the development of artistic research.
3. Formal consistency of the work and technical feasibility for its exhibition.
4. Career, context of practice and life history of the artist/ the artist. The decisions are final.
08. JURY 2026
NÉSTOR ZONANA COHEN (ARGENTINA): Curator and cultural manager. Founder and director of Pabellón 4 Arte Contemporáneo, a Buenos Aires–based gallery dedicated to the promotion of Argentine and Latin American contemporary art. Since 1996, he has developed curatorial projects, exhibitions, and programs aimed at increasing the visibility of emerging and established artists, as well as fostering the circulation of their works locally and internationally. His practice focuses on accompanying artistic processes and creating spaces for dialogue between contemporary production and its cultural context.
XANATH RAMO VÁZQUEZ (MEXICO): Artist, cultural manager, and curator. She holds a degree in Visual Arts from ENPEG, INBAL. Her practice unfolds between artistic production, curatorial work, and cultural management, with participation in national and international group exhibitions and circulation projects in Mexico and South America. In recent years, she presented the solo exhibition Re-encuentros descubiertos at Casa Wabi and participated in group exhibitions at CENART. She has taught workshops and provided advisory programs at institutions such as the National Center for the Arts and Centro Multimedia, has served as a jury member for the Sistema Creación, and currently works as Head of Academic Outreach at ENPEG.
ANÍBAL MALDONADO (COLOMBIA): Visual artist and educator. He holds a Master’s degree in Visual and Plastic Arts from the National University of Colombia. His practice focuses on drawing and the exploration of creative processes, materials, and participatory methodologies, articulating artistic production with research and pedagogy. He has developed his work through exhibition projects, academic initiatives, and research–creation programs, and currently teaches in the Department of Arts at the University of Atlántico, where he supports artistic training and production processes. His work reflects on artistic practice as a space for thought, experience, and collective construction.
ALESSANDRO PALADINI (ITALY): Gallerist and art dealer, owner of SEA Contemporary Art. His work focuses on the promotion and dissemination of contemporary art through a carefully curated selection of international artists and the development of exhibition projects in Italy and the United States. He has advanced a curatorial approach that brings together modern masters, contemporary practices, and new generations, with a particular interest in kinetic art and in the dialogue between historical and contemporary visual languages. Currently, SEA Contemporary Art develops a program focused on Italian and Latin American art, fostering exchanges between established and emerging artists.
09. RIGHTS AND ACCEPTANCE
The works submitted must be original and not infringe third party rights, must be in the artist’s custody or fully available for transfer to New York.
The artist retains the copyright of his work and will be recognized as an author in any context of circulation or dissemination. The application implies the total acceptance of these bases and of the Terms and Conditions of LATINISMO 2026.
A grassroots cultural project that reimagines Latin American art… We honor tradition, spark dialogue, and expand shared creative horizons.