The New York Latin American Art Triennial (NYLAAT) has established itself as one of the most active institutional platforms dedicated to the promotion, research, and dissemination of Latin American art in the United States. With an internationally oriented curatorial model and a network of venues across New York City, the Triennial advances initiatives that strengthen Latin America’s cultural presence in one of the world’s most influential artistic capitals.

Its programming encompasses large-scale exhibitions, artist residencies, educational projects, specialized publications, and ongoing collaborations with museums, universities, and cultural organizations. These efforts foster a transnational dialogue that connects artists from Latin America and its diaspora with global audiences, expanding opportunities for recognition and visibility within the international art circuit.

More than a periodic event, NYLAAT functions as a dynamic institution that researches, supports, and amplifies diverse contemporary practices. Its mission is to create spaces of recognition for the multiple voices of Latin American art, promote new critical perspectives, and contribute meaningfully to the strengthening of Latin America’s presence within the global cultural landscape.

The Game: Biennial of Biennials

The documentary addressing the XVII Cuenca Biennial unfolds as a visual research tool that, through the lens of play, explores the dynamics that influence the artistic and curatorial creation of this edition. Here, the camera acts as an epistemological resource that offers the opportunity to observe the phases of creation, their tensions and methodologies, unveiling the procedural aspect of each proposal and its staging.

Play, seen as a mental strategy, an experimental environment, and a flexible structure of meaning, becomes the core for analyzing the practices of the artists and curators involved. Each proposal is considered from an angle that highlights its internal logic, its systems of rules, its trial-and-error methods, and the shaping of alternative worlds. Likewise, the film investigates the curatorial role as an act of translation, negotiation of ideas, and mediation that organizes meanings within the exhibition space.

Through a meticulous approach, the visual record emphasizes the connections among curators, artists, works, conflicts, and staging; the critical actions that support each work; and the reflective processes that shape each exhibition. Thus, the film, in addition to capturing the process of installing the XVII Biennial, generates knowledge about it, positioning play as a category of analysis and a practice that shapes the artistic and curatorial dynamics of contemporary art.

Nomade Biennial is a project created by the critic and curator Hernán Pacurucu from Ecuador and the visual artist and independent Chilean curator Víctor Hugo Bravo, from 2015 to the present. It is a space in transit, a multiple collectivity that, from autonomous and independent production, generates a series of reflections on the systems and visibility of contemporary art. A collectivity in transit generating thought, addressing border or institutional exhibition spaces, conducting workshops, publications of books, conferences, mobile residences, settlements, and multiple interdisciplinary alliances as a platform, a biosphere of autonomous economy, which articulates other forms of human relationship rooted in utopias, experiments, mistakes, and reflections in relation to the context.

Articulating a political and emotional view of the new forms of social gathering, fundamentally anchored in collaborative work and affects. Creating multiple networks that generate work nodes, enabling spaces and bringing people together under a common ideological umbrella. Cultivating from artistic creation possible scenarios of communication and coexistence that shape society. Nomade configures new ways of understanding the biennial format, developing a series of deconstructive strategies.

SACO Corporation is a nonprofit cultural organization that positions itself internationally due to the impact of its management and its quantitative and qualitative results in the major copper and lithium mining capital. Its work has expanded the visual arts in Latin America through exhibitions, research at the intersection of art and science, educational programs, interventions in natural spaces, and artistic residencies in the world’s driest desert.

Since 2012 it has developed the SACO Contemporary Art Biennial. Each edition is carried out under a different curatorial concept and is distinguished by its “museum without a museum” program, which transforms places not necessarily tied to culture into spaces where the community encounters art. Following the exhibitions, the artwork materials are reused, under a pioneering circular economy logic in the international biennale ecosystem. In addition to exhibitions, SACO organizes residencies, in which artists from around the world can approach the planet’s clearest skies, engage with the indigenous cultures of the region, and connect with leading scientists in fields related to the Atacama Desert, such as geology, microbiology, astronomy, among others.

The corporation’s mission is to establish a permanent center of reflection and dialogue through the artwork, addressing the absence of institutions dedicated to pursuing these aims in the Antofagasta region. All its educational activities come together in its permanent education program, a school without a school. To date, the Corporation’s activities have been carried out in Chile, Argentina, Mexico, Colombia, Brazil, Germany, Ecuador, Spain, Switzerland, Poland, and Norway.

The WTA Organization was founded in 1997 in the city of Miami, Florida, United States, under the name Women in Textile Art. Pilar Tobón, a curator and Colombian textile artist, posed this great challenge given the need to reclaim textile art at local and global levels. Tobón has always pursued the objectives of supporting, disseminating, promoting, and fostering textile artists and their works.

In 2009, given the inclusive and universal character of textile art, the name was changed to World Textile Art. The World Textile Art Biennial has been held since 2000. It has taken place in the United States (2 editions), Venezuela, Costa Rica, Argentina, Mexico, Uruguay, Spain, and Chile.

To meet the outlined objectives, the director created the WTA Contemporary Textile Art Biennial, nomadic in nature, unique in its kind in the world. This first version was held in 2000 at the Museum of Latin American Art of Florida. With the Biennial, local cultural practices and the natural and human diversity of the host country are promoted and disseminated to visitors from around the world who attend the great textile gathering.

The Gwangju Biennale is an international contemporary art event founded in South Korea in 1995, established in memory of the 1980 Gwangju Democratization Movement. It is one of Asia’s oldest and most prestigious biennials, held every two years, and features exhibitions, performances, and educational programs from around the world. Hosted by the Gwangju Biennale Foundation and the city of Gwangju, it serves as a platform for cultural exchange and discourse, with a mission to promote art, cultural history, and the city itself.

Co-Curated By: Marisa Caichiolo & Dermis León

Inter-Reality, by artist Norton Maza, curated by Marisa Cachiolo and Dermis León and managed by Claudia Pertuzé, also as part of the team Beatrice Di Girolamo and architect Mathias Klotz, was selected to represent Chile at the 61st Venice Art Biennale, an event to be held from May 9 to November 22, 2026, in the Italian city. Chile’s participation in the Venice Biennale is the result of inter-institutional collaboration between the Ministry of Cultures, Arts and Heritage, through its Secretariat of Visual Arts, the Ministry of Foreign Affairs, through the Division of Cultures, Arts, Heritage and Public Diplomacy (DIRAC), and the Embassy of Chile in Italy.