Malba named the permanent collection space “Ricardo Esteves Room”

Eduardo Costantini, in dialogue with Ana María Battistozzi, highlighted the relevance of the businessman, collector and editor in the formation of the collection of the Latin American Art Museum of Buenos Aires
The Museum of Latin American Art of Buenos Aires (Malba) has decided to honor the essential work of Ricardo Esteves in the formation of its permanent collection, naming the room that houses these works in his honor. This decision was announced at an event held in the museum's main auditorium, with the presence of Eduardo Costantini, founder and honorary president of Malba, Teresa Bulgheroni, president of the museum, and Ana María Battistozzi, journalist and art critic.
“It is a great honor for me to be here to pay tribute to Ricardo Estévez, a true pillar in the promotion of Latin American art and a man inseparable from the history of Malba. By naming this room in his honor, we recognize his immense contribution and his inexhaustible passion for art,” Bulgheroni remarked at the start of the event.

During the event, Costantini highlighted the influence of Ricardo Esteves in shaping the museum's collection since 1982, stressing that without Esteves, the Malba collection would not exist in its current form. “Putting Ricardo's name on the Collection Room honors the truth, Ricardo is an unavoidable part of the collection and we will always be grateful,” said Costantini.
The inauguration of the Ricardo Esteves Room coincides with the Third Eye exhibition, currently on display at the museum. This initiative recognizes the fundamental role that Esteves has played in the history of Latin American art, allowing through his innate eye the acquisition of important works such as Manifestation (1934) by Antonio Berni and Self-portrait with chango y loro (1942) by Frida Kahlo.

The event, with more than 200 attendees, was attended by friends, family and other guests. Ricardo Esteves (h), his son, read an emotional message on behalf of his father, who could not attend: “My father has always had a special eye for recognizing the historical importance of works, something that is confirmed with each acquisition.”
Over the course of 40 years, Esteves has been a mentor and friend to Costantini, recommending the acquisition of pieces that, over time, have proven to be crucial to the museum's collection. Such is the case of Diego and I (1949) by Frida Kahlo, Baile de Tehuantepec (1928) by Diego Rivera, and Tragedia del Pongo (1932) by Alejandro Mario Yllanes. Each of these acquisitions has been discussed and approved together, forming a cartography of Latin American art.

"Ricardo is an unavoidable part of the collection and we will always be grateful," said Eduardo Costantini.

During the ceremony, images of these iconic works and photographs of Ricardo Esteves were projected at various exhibitions and events since Malba's founding in 2001. These visuals underlined the importance of Esteves in the growth and development of the museum.

The decision to name the Permanent Collection Room as the Ricardo Esteves Room is not only a personal recognition, but also formalizes his role in the history of Malba, as Costantini indicated: “Malba writes its history, identifies it.” This appointment comes at a significant moment for the museum, consolidating Esteves' relevance in shaping the Latin American artistic legacy that Malba houses.

The registration of the permanent collection room was officially unveiled at the close of the event: here Eduardo Costantini with the family of Ricardo Esteves

Among the recent acquisitions suggested by Esteves are also the sculpture Bachué (1925) by the Colombian Rómulo Rozo and Dagoberto's Distractions (1945) by Leonora Carrington, which will be exhibited in Buenos Aires in three weeks. These works add to a vast collection that Esteves has helped cultivate with his keen critical and artistic vision.

The event concluded with a guided tour of the Third Eye exhibition, where attendees were able to appreciate Esteves' contributions firsthand. The inscription “Sala Ricardo Esteves” was officially unveiled, thus sealing his irreplaceable contribution to Malba.

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