The Eye's Journey: Part Two

The exhibition features solely Paraguayan artists and a few foreigners who have lived and worked in Paraguay. It provides a look at the lesser-known pursuits of well-known artists identified with a particular line of work, as well as works that, for one reason or another, were largely unseen. The present, second part of the exhibit features the following artists: Pedro Di Lascio, Lotte Schulz, Pedro Agüero, Jenaro Pindú, Fernando Grillón, Miguel Heyn, Mónica González, Lucio Aquino, Ofelia Olmedo, Leonor Cecotto and Ángel Yegros.

During his short life, the artist produced a striking body of work that makes obsessive use of certain structures. The structures, first painted, then overtake the frame with all their materiality and might. In the work on exhibit, Agüero goes beyond the two‑dimensionality of painting without foregoing it entirely since the structure is chromatic and makes use of spontaneous brushstrokes.

Grillón produced Informalist abstract works as well as fantastic figurative pieces that, as early as the seventies, were rich in humor and satire. The work on exhibit is much later; its delicate forms and rigorous composition shape a scene with metaphysical atmosphere.

The work by Mónica González (1952) featured in the show is Mujer, pilar, malabarista [Woman, Pillar, Juggler], a seminal work in her production since it led to many others. In fact, it forms part of a larger installation that includes self-supporting structures made from everyday items from rural life in Paraguay (jugs, basins, milk pitchers, and warming pans). The installation was exhibited at the 22nd São Paulo Biennial in 1994, and in other locations in Brazil, as well as in Buenos Aires, Paris, and Ulm Germany. It has been included in many exhibitions and other events in Paraguay that address gender issues. Mónica González produced this work while she was an active participant in El Aleph, a venue of production and debate central to the art scene of the 1990s.

The work by Olmedo is a mixed‑media piece on cardboard that makes use of collage, oil paint, and ink. An early work, it was first shown in 1992 at the opening exhibition of El Aleph. Characters rendered in lines emerge from the blotches on the surface, intertwining to compose scenes in a fantastic narrative

Yegros was a member of Los Novísimos. The work on exhibit was produced in 1969—after the group had disbanded—when the artist was experimenting with writing and drawing on smooth surfaces covered in synthetic paint. It is quite different from his more widely known work in sculpture produced starting in the eighties. This piece is part of a series of ten inspired by writers Louis Pauwels and Jacques Bergier, and others published in the celebrated Planeta magazine.