Discover Costa Rica Through the Eyes of an Art World Insider: A Fresh Perspective Under the Global Spotlight of Art Basel

Belinda Seppings, Costa Rica, 1 December, 2024

As the international art world gathers for Art Basel Miami Beach, a recent feature in the Art Basel website’s “In-Focus” section presented Costa Rica’s cultural contributions in a limited light. Titled “Discover Central America through the Eyes of Art World Insiders,” the albeit brief section on Costa Rica framed the country primarily as a tourist destination, focusing on its hot springs and volcanoes while overlooking its contemporary art scene.

For a nation striving to assert its place in the international art world, the omission of its contemporary art scene is a missed opportunity, especially in the context of Art Basel.

Having spent years in London’s art world, including working at White Cube and attending Art Basel Miami Beach many times with the gallery, I understand the calibre of galleries and artists that show there. While much of Costa Rica’s contemporary art scene is still emerging, the suggestion that Costa Rica has nothing to offer the global art world is not just lazy—it’s damaging.

As the co-founder of MÍRAME Fine Art, I felt compelled to respond.

Beyond Beaches: The Art Scene They Didn’t Tell You About

Adrián Arguedas, Bañistas #1

The article featured Costa Rican collector Sagrario Pérez-Soto, who admitted she didn’t know how to advise people on what to see in Costa Rica. Her recommendations—based on a Google search—were predictable: hot springs, volcanoes, and Santa Teresa beach. While these places are beautiful, they offer nothing new to anyone familiar with Costa Rica. This narrow framing overlooks the thriving art scene in the country, especially in San José.

San José, often described as a stopover city, is anything but. The capital is home to institutions like the Musuem of Costa Rica Art and the Museum of Contemporary Art and Design, where exhibitions tackle important social and political issues. There are also commercial galleries like DeCERCA and independent spaces like cero-uno and abra.espacio, where local and international artists experiment and push boundaries.

By framing Costa Rica through natural beauty, the Art Basel feature overlooks the depth and complexity of the country’s evolving art scene. This narrow portrayal risks reinforcing outdated perceptions, diminishing the relevance of Costa Rican art in broader international discourse.

Costa Rica Is More Than Its Natural Beauty

Costa Rica’s reputation as a tropical paradise is undeniable. But the assumption that its cultural offerings stop there frustrates me—and many others championing Costa Rican art. The reality is far more compelling.

Costa Rica is home to artists like Adrián Arguedas, whose work reinterprets traditional masquerade culture through a contemporary perspective. Katrin Aason, a textile artist known for her geometric designs, fuses traditional dyeing techniques with a contemporary vision, and she is preparing for her first U.S. exhibition next spring.

Katrin Aason, M.A.I 014

Other prominent examples include Federico Herrero, whose colourful, large-scale murals and paintings have earned major recognition through New York-based James Cohan gallery and are featured in the gallery’s Art Basel Miami Beach presentation this year. Additionally, Priscilla Monge is considered one of most renowned female artists from Central America. Her work has been featured in exhibitions at New York’s MoMA, the prestigious Venice Biennale, and is part of the Tate Modern collection in London.

These artists exemplify Costa Rica’s creative energy, challenging simplistic notions of the country as a mere tropical haven and presenting a more nuanced narrative of its cultural vitality within the broader Latin American context.

A Personal Perspective: From White Cube to San José

Leonardo Ureña, from the "Urban" series

In 2019, while working for White Cube at Art Basel Miami Beach, I witnessed the surreal frenzy surrounding Maurizio Cattelan’s Comedian—the now-infamous banana duct-taped to a wall as part of Perrotin’s gallery presentation. Exhibiting next to Perrotin, White Cube’s booth was directly adjacent to the banana, which hung prominently near our entrance. Thousands of people rushed to photograph it, even after it had been removed. The piece, meant to critique the absurdities of the art market, ironically became its most poignant symbol.

When I first came to Costa Rica in 2021 —splitting my time between here and London—I didn’t expect to find the level of artistic talent I did; I didn't realise Costa Rica had such a diverse and engaging art scene. Costa Rica surprised me.

Fast forward to today, and a version of Comedian sold for $5.2 million at Sotheby’s after a seven-minute bidding war. The banana’s return to the headlines feels like an apt metaphor for how reductive narratives can overshadow meaningful discourse. Costa Rica, reduced to beaches and volcanoes, is similarly dismissed by an art world that should know better.

Interestingly, Cattelan himself spends considerable time in Costa Rica. His presence underscores the growing significance of the country as an artistic hub.

A Moment for Broader Engagement

Carolina Guillermet, Untitled

Art Basel Miami Beach is a global meeting point for artists, collectors, and curators to celebrate diverse perspectives. It also offers an opportunity to question which voices are being heard—and which remain on the margins.

MÍRAME Fine Art calls for a deeper engagement with regions like Costa Rica, whose evolving art scene pushes against reductive narratives about the country. Central America has a long tradition of socially and politically engaged art, and Costa Rica’s contemporary artists continue to build on this legacy.

Moving Beyond the Banana

Just as Comedian forced us to confront the absurdities of the art market, I hope this article challenges readers to rethink their assumptions about Costa Rica. Yes, the country’s beaches and volcanoes are spectacular—but so is its art.

Costa Rica’s art scene is not peripheral; it is a country with a distinct and meaningful voice in contemporary art. The question is whether the art world is ready to listen.

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