Celia Sredni de Birbragher

When Celia Sredni de Birbragher published the first issue of Arte en Colombia in July 1976, she couldn’t have imagined that the magazine would become one of the most important platforms for Latin American art. The cover featured a nude by Colombian artist Darío Morales, a bold choice that prompted two banks to withdraw their advertising. The issue sold out, and fifty years later, the publication, now known as ArtNexus, continues to connect Latin American artists with collectors, museums and audiences worldwide.

Celia’s love of art dates back to her teenage years. Born in Bogotá, she attended boarding school in Canada, where she saved her allowance to buy a $100 collection of Metropolitan Museum of Art books. She later earned her fine arts degree from Universidad de los Andes in 1972, taking night classes while raising her daughters.

Before becoming an editor, Celia was a sculptor who worked with discarded wooden crates from her father’s company. The idea for a magazine came after Colombian artist Carlos Rojas received a prize at the São Paulo Biennial that attracted almost no press coverage. Celia thought Colombia needed an art publication. When Rojas encouraged her to start one, she laughed, recalling that she barely wrote letters to her mother. But with the support of art critic Galaor Carbonell, she made it happen.

In 1991, the magazine became ArtNexus, establishing an office in Miami and expanding into English. When advertising declined in 2008, Celia began collaborating with artists on limited-edition works to help finance its printing.

That initiative took center stage in September 2026, when ArtNexus celebrated its 50th anniversary at ARTBO in Bogotá. The exhibition, Art Nexus, 50 años de arte latinoamericano, brought together works by 50 artists from ten countries, including Alfredo Jaar, Carlos Cruz-Diez, Liliana Porter and Carmen Herrera.

Celia has also helped bring attention to emerging artists through initiatives like the EFG Latin America Art Award, which has been presented for 16 years following a pre-selection process at five Latin American art fairs: SP-Arte in São Paulo, Pinta PArC in Lima, ARTBO in Bogotá, ArtRio in Rio de Janeiro and BAphoto in Buenos Aires. The following year, she joined Marisol Argüelles, director of Mexico City’s Museo de Arte Moderno, at Zona Maco to discuss how publishing influences the way art is collected.

Even after 50 years in the art world, discovering new and unrecognized artists remains one of Celia's top concerns. At ARTBO 2026, she pointed out that international museums have traditionally favored male artists from Europe and the United States, although she is beginning to see change.

Today, ArtNexus is reaching new audiences with a redesigned digital platform, a 50-year archive and Nexo, an AI-powered research assistant. For Celia, it’s another way to share the Latin American art she has championed for half a century.