MEET THE CURATOR: Inês Pinto e Sousa

Inês Pinto e Sousa emerges as a captivating and influential figure on the contemporary art scene, standing out as an independent curator. His passion for art and dedication to helping artists develop their unique visions and bringing them closer to the public are the fundamental elements of his multifaceted career. With a master's degree in History of Art from Universidade Nova de Lisboa - FCSH, Inês Pinto e Sousa brings a solid base of knowledge, enriched by the perspective of having been a scholarship holder at the Foundation Júlio Pomar and for his master's thesis which focused on the mythological plays of Júlio Pomar and the relevance of myth and literature in his work.
Through a combination of experience in communication, curatorial skills and a tirelessly creative mind, Inês Pinto e Sousa has left an unmistakable mark on the artistic scene, collaborating with national and international artists, organizing innovative projects and seeking to strengthen ties between art and the public. In this article we will delve into a captivating interview with curator Inês Pinto e Sousa.

Tell us how this lifelong passion for the world of art began.

I think it started very early. I was extremely lucky to be able to visit art museums since I was little, when I still didn't really know what those works meant. This helped me feel more comfortable in this environment and sparked an interest in Art History that continues to this day.

What are the biggest challenges you face as an independent curator?

The most immediate thing will possibly be instability, we are never sure if we will be able to guarantee continuous projects. Therefore, we feel that we have to be always available, always working, which can make it difficult to achieve a healthy balance.

Could you share a specific collaboration that was particularly memorable or impactful for you?

My most recent collaboration with artist Carolina Piteira will forever be memorable. I had the opportunity to follow and even participate in the process from the first day, and being such an important topic for me – the female experience in today's world – I feel that it was a very rewarding project.

What are some of the communication techniques you use to make art more accessible and understandable to a diverse audience?

Given my previous marketing experience, I believe it is possible to find the right message and way of transmitting it to reach any audience. Currently, with access to digital tools, for example, or having a perspective more based on collaboration between diverse agents, it is possible to do much more and go much further.

What are your future plans or projects as an independent curator?

I would like to work on more projects directly with artists, where I can follow a series or work from the beginning. This approach allows me to have a much deeper understanding of the work, which I can then convey to observers.

Is there a specific dream or goal you would like to achieve in the field of art curation?

I'm interested in artists and artistic projects that talk about uncomfortable topics in an unpretentious and accessible way, and that's why I believe that being able to develop something in that direction is my next objective. I would be very happy if I could participate in an exhibition or project in which I could change some perspectives and create dialogue.

Who are the artists you look forward to working with?

I feel like every day I discover something new! Some whose work I greatly admire would be Mark Bradford, Liu Xiaodong or Njideka Akunyili, and on the national scene, Adriana Proganó or René Tavares.

For young curators just starting out, what advice would you give based on your experience so far?

An idea that is very important to me is this: start, but above all, keep going. Sometimes it's harder to continue than to start, so stay focused on what you believe in and what you want to do.

What five books would you recommend reading to enrich your knowledge and understanding about art and curating?

Why Have There Been No Great Women Artists by Linda Nochlin; Old Mistresses: Women, Art and Ideology by Rozsika Parker and Griselda Pollock; Art Power by Boris Groys; Thinking Contemporary Curating by Terry Smith; and Spaces of Experience: Art Gallery Interiors from 1800 to 2000 by Charlotte Klonk.

If you had the possibility to choose a work of art for your “personal collection”, what would it be?

As much as I like the idea of having a work of art by one of my favorite artists in my home, I like the idea of being able to share it with the world even more. Therefore, I prefer that they remain in museums. But I wouldn't say no to having unlimited viewing rights to "The Starry Night" by Van Gogh!