Eugenio Espinoza, Circunstancial (12 cocos) (Circumstantial [12 coconuts]), (detail) 1971. Private Collection, Miami. Photo: Eugenio Espinoza, I Salón Nacional de Jóvenes Artistas, Maracay, Venezuela.
Eugenio Espinoza: Unruly Supports (1970 – 1980), features over 50 exceptional works including paintings, photographs, sculptures, postcards and documentation of performances and interventions by Eugenio Espinoza (b. 1950, Caracas). The exhibition focuses on his practice during the decade of the 1970s, highlighting Espinoza´s significance within the Latin American avant-garde of that period. Currently living in Florida, Espinoza is known for his nonfigurative, humorous and irreverent manipulations of grid forms, that he began developing in the late-1960s. These works were produced as a reaction to the dominant tendencies of geometric abstraction and Kinetic art in Venezuela during these decades. Unruly Supports (1970 – 1980) traces these seminal works, which include his large Impenetrable (1972)—an installation that subverted the modernist cannon, challenged Kinetic art, and engaged post-minimalist strategies—and explores Espinoza’s active involvement in the evolution of abstraction during the post-war period. The title of the exhibition refers to the countless experiments Espinoza made to produce his emblematic black grid supports, as he folded, stretched, and cut to this geometric form, contaminating this iconic symbol of modern art.
Highlights from the Exhibition
"Eugenio Espinoza: Unruly Supports (1970 – 1980)" is organized by guest curator Jesús Fuenmayor and coordinated by Pérez Art Museum Miami Assistant Curator María Elena Ortiz.
Pérez Art Museum Miami Opens "Eugenio Espinoza: Unruly Supports (1970 – 1980)"
"Eugenio Espinoza: Unruly Supports (1970 – 1980)" Known for a humorous and irreverent approach, Espinoza destabilizes the grid, an iconic symbol of modern art, by way of folding, stretching, and cutting the geometric form.