Untitled (Circumstantial [12 coconuts])

 
 
Currently on View at
Following rapid economic growth during the 1960s and 1970s, geometric abstraction and kinetic art were adopted by the Venezuelan government as cultural signifiers of Venezuela's entry into modernity. The constructional quality of geometric abstraction mirrored the developmentalist rhetoric of Venezuela's government. Eugenio Espinoza used this to criticize the state and the predominantly Western forms of artmaking. In 'Circumstantial (12 coconuts),' Espinoza appropriates the modernist symbol of a grid, which he has described as the "graphic representation of real space." He challenges it by using raw canvas, displaying the work without stretcher bars and hanging it in a non-traditional way as a sculptural item rather than as a painting on the wall. He conflates the rigid imagery with what he calls "tropical or folk objects." In doing so, Espinoza creates irreverent works that engages the viewer through spatial obstruction.