By Texo Foundation
A small cabinet
The collection holds a good many prints, a small sample of which are included in this show in what we might call a Cabinet. This fourth part presents works of the following artists: Livio Abramo, Edith Jiménez, Olga Blinder, Jacinto Rivero, Miguela Vera, Pedro Di Lascio, Marcela Dioverti and Daniel Mallorquín.
Livio Abramo (1903-1992)
Livio Abramo, a Brazilian artist who moved to Paraguay in the early sixties, was a central figure in printmaking in Paraguay. Thanks to his work as both an artist and an educator, he encouraged and stimulated new generations of Paraguayan artists.
Edith Jiménez (1928-2004)
Direct disciple of Livio Abramo, Edith, with a couple of artist tests, variations on the series Puzzles that was acquired by the Brazilian Senate in 1972. These works feature her well-known images of fruits and vegetables (eggplants, to be more precise) rendered abstract by layering planes, colors, and transparencies.
From the Puzzle series by Edith JiménezTexo Foundation
The theme here is a pretext to delve into the possibilities of a multiple-impression technique that she used assiduously.
Olga Blinder (1921-2008)
The prints by Olga Blinder show the human condition in all its suffering, especially in times of dictatorship (1954-1989). The human body, especially the face, was one of Blinder's recurring themes.
Olga Blinder found in printmaking an apt way to express her social concerns, using the medium to voice political commitment and protest.
Jacinto Rivero (1932-1996)
With technical mastery, Rivero developed a poetic that revolves around rural Paraguay, creating costumbrista scenes, depict the daily life of peasants and popular celebrations.
His firm stroke and dark, somewhat rough volumes stand out against the white background to form a context that holds a range of situations.
His works are, for the most part, a song to nature and the simple things of peasant life.
Miguela Vera (1920-2005)
Miguela continued to work on themes related to Paraguay. In this work, she makes masterful use of block printing with well-placed accents of color to show the joy of Paraguay's traditional celebrations.
Pedro Di Lascio (1906-1977)
"Four nudes" is a sensitive engraving, made of elementary but intense strokes. Here appears the primordial, innocent, naive nudity.
Marcela Dioverti (1984)
Contemporary artist who, in this case, made figures on a black canvas and lit them up with a powerful blotch of color. The nudity here are guilty and condemned by social clichés.
Daniel Mallorquín (1984)
The technique in this work is part of an expressive process that investigates the possibilities afforded by newspaper, with all the meanings and connotations that that implies. He works with smoke that blurs the images printed while making others emerge, as if they came from different strata.
Photographs: Ana Ayala
Texts: Adriana Almada
Digital curators: Fredi Casco & Stefan Knapps