Marina Rheingantz reprocesses landscape painting in compositions that combine the formal ordering of patterns and color fields with gestural, instinctive markings, informed by an archive of meteorological events, memories, photographs and places. Her canvasses produce ample imaginary spaces, dissolving topography into minimal, allusive elements. These expansive works privilege surface incident over image clarity, giving way to the perception of a vaporous, oscillating spatiality. Observing her paintings from up close or afar causes the agitated atmosphere to shift; what seemed like the outline of a lake, a mountain or a rural view becomes a blotch of paint and impasto accumulations with no identifiable referent. The artist unravels issues of her painting into embroidery and tapestry, whose rhythmic, iterative technique gives form to a body of work that is both dense and delicate. 

Noteworthy solo shows include Rodamoninho, ICA Milano, Milan, Italy (2025); Mirage, Musée Des Beaux-Arts de Nîmes, Nîmes, France (2025); Sedimentar, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2022);  Marina Rheingantz, FRAC Auvergne, Clermont-Ferrand, França (2021); Todo mar tem um rio, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2019); Terra Líquida, Galeria Fortes Vilaça, São Paulo, Brazil (2016) e Uma hora e mais outra, Galeria Fortes Vilaça, São Paulo, Brazil (2013). Noteworthy recent group shows include Even an Oak Went Mad, Fortes D’Aloia & Gabriel, São Paulo, Brazil (2026); 15th Gwangju Biennale, PANSORI ― a soundscape of the 21st century, Gwangju, South Korea (2024); Abrasive Paradise, KUNSTHAL KAdE, Amersfoot, Holanda (2022); Nature Loves to Hide, Fortes D’Aloia & Gabriel + Lévy Gorvy, Palm Beach, USA (2021); Casa Carioca, MAR – Museu de Arte do Rio, Rio de Janeiro, Brazil (2020); Perdona que no te crea, Fortes D’Aloia & Gabriel | Carpintaria, Rio de Janeiro, Brazil (2019) e Mínimo, múltiplo, comum, Estação Pinacoteca, São Paulo, Brazil (2018). 

Her work is included in important public collections such as Centre Georges Pompidou, Paris, France; S.M.A.K. – Stedelijk Museum voor Actuele Kunst, Gent, Belgium; Institute of Contemporary Art Miami, Miami, USA; MACAM – Museu de Arte Contemporânea Armando Martins, Lisbon, Portugal; Inhotim, Brumadinho, Brazil; Fundação de Serralves – Museu de Arte Contemporânea, Porto, Portugal; MFA Boston, Boston, USA; Dallas Museum of Art, Dallas, USA; Pinacoteca do Estado de São Paulo, São Paulo, Brazil; MAM – Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Museum Voorlinden, Wassenaar, Netherlands; MoAE – Huamao Museum of Art Education, Ningbo, China; Taguchi Art Collection, Tokyo, Japan; Pinault Collection, Paris, France; Alkar Contemporary Art Collection, Bilbao, Spain; The Rubell Family Collection, Miami, USA; Moderna Museet, Stockholm, Sweden; He Art Museum, Foshan, China; Green Family Art Foundation, Dallas, USA; Nixon Collection, London, UK; Comma Foundation, Brussels, Belgium; Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil and Instituto Itaú Cultural, São Paulo, Brazil.