Rio de Janeiro

Solange Escosteguy, Liberdade (Freedom), 2019, acrylic on canvas, 39 3⁄8 × 39 3⁄8".

Solange Escosteguy, Liberdade (Freedom), 2019, acrylic on canvas, 39 3⁄8 × 39 3⁄8".

Solange Escosteguy

Portas Vilaseca Galeria

Solange Escosteguy’s artistic trajectory began with her participation in the seminal exhibition “Nova objetividade brasileira” (New Brazilian Objectivity) at Rio de Janeiro’s Museu de Arte Moderna in 1967. In the exhibition catalogue, the show’s main organizer, the artist Hélio Oiticica, described Brazilian avant-garde art as characterized by, among other things, the participation of the viewer, the tendency for the object to negate and supersede the frame of the easel, the adoption of collective propositions, and new formulations of the concept of antiart. In considering the work of Escosteguy, it is important to remember that Oiticica differentiated the New Objectivity, which he called the “typical state of current Brazilian art,” from the “two main currents of today: Pop and Op, and also from those connected to them: Nouveau Réalisme and Primary Structures (Hard Edge).” If the language

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