Marina Rheingantz

Marina Rheingantz was born in 1983 in the rural region of Araraquara, Brazil, and now lives and works in Sao Paulo. She began formal art studies at Fundacao Armando Alvares Penteado (FAAP) in Sao Paulo in 2003, took an academic exchange at Universidad Mayor in Santiago, Chile in 2005, and completed her Fine Arts training at FAAP in 2007 with a specialization in painting, a program her gallery CVs now describe as an MA in Fine Arts.

Her early exhibition history ran through Sao Paulo's Galeria Fortes Vilaca (now Fortes D'Aloia & Gabriel), with early solo shows there, and expanded internationally through Nichido Contemporary Art in Tokyo (2016), Zeno X Gallery in Antwerp, and Bortolami in New York. Museum recognition followed with group exhibitions at institutions including the Rubell Family Collection in Miami, Estacao Pinacoteca in Sao Paulo, and the Museu de Arte do Rio, and a 2021 solo exhibition at FRAC Auvergne in France. In 2023 White Cube announced her representation, opening a solo show at its Mason's Yard space in London that October; she has since shown at the Williams College Museum of Art, been included in the 15th Gwangju Biennale (2024), and opened solo exhibitions at ICA Milano (2025 to 2026) and White Cube Seoul (2026).

Curatorial and gallery writing on Rheingantz consistently frames her as an artist expanding the language of landscape painting rather than illustrating it, mixing oil paint with watercolor, embroidery, and tapestry to build surfaces that read as terrain, weather, or pattern depending on the distance from which they are viewed. White Cube describes her work as expanding the genre of landscape painting, and her selection for the 15th Gwangju Biennale and her work's presence in the Rubell Family Collection both placed her within broader conversations about contemporary painting's relationship to place and material. No verbatim, attributable review quotation from a named critic in a major outlet could be confirmed in the available sources, so none is reproduced here.

Rheingantz's public secondary-market record is thin and not fully documented in accessible auction databases. Trade listings show a small number of lots at auction, but no source consulted discloses a confirmed hammer price, currency, house, and date for any of them, so no auction record can be published with confidence at this time. The clearest documented price points are primary-market fair sales: her painting Pe do Ouvido (2026) sold for USD 80,000 through Fortes D'Aloia & Gabriel's booth at Art Basel in 2026, and an unnamed new painting reportedly sold for USD 250,000 at Frieze New York in 2026, both gallery transactions rather than public auction results. These figures are consistent with a market still forming its public price history even as her institutional profile grows.

There is no catalogue raisonne for Rheingantz, and authentication runs through her representing galleries rather than an independent authenticating body. Her market is still young on the secondary side: the absence of a verified auction record, paired with strong primary-market demand at fairs and a recent move to a major international gallery, suggests that price discovery for her work is happening mostly in the primary market for now. Collectors should treat any auction-based valuation with caution until a longer, verifiable sales history develops, and should rely on museum collection entries and gallery representation as the more stable signals of her standing.