Skip to content

Eugenio Espinoza:good Blue Day

[et_pb_section bb_built=»1″][et_pb_row][et_pb_column type=»4_4″][et_pb_text _builder_version=»3.2.2″] The Piero Atchugarry Gallery presented Good Blue Day, a solo exhibition of new work by Venezuelan conceptual artist Eugenio Espinoza, including sculpture, painting, installation and performance. Espinoza began his career by subverting our understanding of the Modernist grid, and is celebrated for his radical works that reacted to the dominant movements of geometric abstraction and Kinetic art in Venezuela in the 1960’s and 1970’s. For the past 50 years, Espinoza has continued his courageous and in-depth investigations of the grid. Good Blue Day presented a dynamic trajectory of his new works using metal, color and an increased sense of play for the first time. In 2014 the Peréz Art Museum Miami (PAMM) hosted Espinoza’s solo exhibition Unruly Supports. Curated by Claire Breukel, Good Blue Day offered a selection of new work by Espinoza never-before exhibited publicly. As the title paradoxically implies, Good Blue Day presented the layered tension within Espinoza’s oeuvre. Collectively, these works juxtapose the duality of his practice –controlled/uncontrolled, formal/informal, grid/chance, offering a playful, contemporaneous entry point to re-read Espinoza’s work. Newer and previous work was exhibited together thematically rather than chronologically. This exhibition aimed to present Espinoza’s work without the laden history of institutional politics, and rather with a new blue breadth that shows an unconstrained and “support-less” approach. In addition, Espinoza’s work was presented non-geographically to show the eclectic contexts from which the artist has drawn inspiration, including the cities of New York, Caracas, Miami and Gainesville where he currently resides, among others. Claire Breukel shares: “Although his vital contribution to Venezualan critical practice must be acknowledged, Eugenio Espinoza is an artist of the Americas, and his new metal works reflect the tensions and struggles, desires and play of existing ubiquitously, outside of the box…the grid.” [/et_pb_text][et_pb_gallery _builder_version=»3.2.2″ gallery_ids=»61546,61547,61548,61550,61551,61552″ zoom_icon_color=»#aeb7be» hover_overlay_color=»rgba(255,255,255,0.9)» posts_number=»6″ show_title_and_caption=»off» show_pagination=»off» /][et_pb_text _builder_version=»3.2.2″ custom_padding=»25px|25px|25px|25px» border_width_all=»1px» border_color_all=»#878787″] EUGENIO ESPINOZA: GOOD BLUE DAY The Piero Atchugarry Gallery, 5520 NE 4th Avenue, Miami, FL December 1, 2019 – February 1, 2020 [/et_pb_text][/et_pb_column][/et_pb_row][/et_pb_section]

También te puede interesar

Taller de Performatividad Social, Centro de Arte Los Galpones, Caracas, 2019. Foto cortesía de Portaespacios

Performatividad Social

El pasado mes de julio se desarrolló el Taller de Performatividad Social en el G17 del Centro de Arte Los Galpones, en Caracas, bajo la organización de Portaespacios: Taller de Proyectos. Durante las jornadas...

Yucef Merhi, Compassion, 2020, Atari 2600, cartuchos, teclados, TV. Cortesía del artista y The Bonnier Gallery


[...] Merhi sustenta su trabajo en un dialecto mixto, donde se yuxtaponen la automatización informática, la codificación lingüística y la sensorialidad. Sus trabajos corresponden a un universo de “actantes” (en el sentido que le...