On the rare occasion on which it is possible to admire the most important series of works produced by Otero in an anthological format, one can see that constant search and experimentation fueled his prolific activity. Rather than a seamless transition from one style to another, often it is rupture and risk that characterizes his relentless quest for new techniques and modes of expression. Frequent criticism by the press only encouraged Otero to further refine the theory present in his extensive journalistic and epistolary legacy. Otero’s vision and persistence allowed him to bring Venezuelan art to the forefront of the international movement toward modernist abstraction.
After graduating from the Escuela de Artes Plásticas y Artes Aplicadas de Caracas, Otero had been living in Paris when he met artist Mercedes Pardo in 1949. They were married in 1951, and that same year Otero joined a group of European artists and intellectuals and...founded the artistic group Los Disidentes (The Dissidents). He quickly emerged as the leader of the movement, influencing a generation of artists and earning his status as the pioneer of a new visual language. In 1952, Otero and Pardo returned to Caracas where he began working with other pioneers, among them Gego, Jesús-Rafael Soto, and Carlos Cruz-Diez.
Organized in partnership with the Otero Pardo Foundation of Caracas, Venezuela, the exhibition highlights works from Otero's Cafeteras (Coffeepots), Tablones (Planks), and Coloritmos (Colorhythms) series, among others, offering a glimpse into the dynamic practice of this master artist. The exhibition is accompanied by a catalogue published by Sicardi | Ayers | Bacino, with texts by Rafael Romero D. and Juan Ignacio Parra S., who published a catalogue raisonné on Otero's Coloritmos series in 2018 after two decades of collaborative research.
Entrada actualizada el el 23 oct de 2019
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