Exhibition of visual trends in contemporary Ecuadorian art opens in CAF Gallery

With an exhibition of the contemporary visual arts of Ecuador, the Andean Development Corporation (CAF) and the Ecuadorian Embassy in Caracas joined in the commemorative acts for the 25th anniversary of the declaration of Quito as World Heritage Site and its designation as Ibero-American Capital of Culture in 2004.

The exhibition Visual Trends in Contemporary Ecuador shows works from three Ecuadorian artists: Miguel Betancourt, Tomás Ochoa, and Larissa Marangoni, who with their particular perspectives offer a cosmogony of Ecuadorian painting and sculpture. The show opens to the public tomorrow in the CAF Gallery in Caracas.

CAF Executive President Enrique García said it was an honor for this multilateral institution to sponsor an exhibition that reflected the wealth and complex creative spirit of Ecuadorian art.

García added that, as well as paying homage to Ecuador, the exhibition “is our recognition of the title granted to the beautiful Andean capital, and a tribute to the industrious Ecuadorian people, who step by step have known how to make day-to-day reality into an ambit of continuous creativity."

Ecuadorian ambassador in Caracas Paulina García Donoso de Larrea said that this show of contemporary Ecuadorian art was a valuable contribution to the achievement of the common objectives of the Ecuadorian diplomatic mission and the CAF in their joint effort to deepen the spiritual and material union of the peoples of these two countries and the rest of the Andean region.

Visual Trends in Contemporary Ecuador reflects the great diversity, themes and techniques of three creators. Miguel Betancourt explores different materials, including hemp (cánamo), and his chromatic proposal highlights Andean colors, especially violent and purple.

Larissa Marangoni moves in monumental art, installations, painting and sculpture with great versatility, which allows her to tackle even autobiographical themes.

Lastly, Tomas Ochoa starts from pre-Columbian icons and textures, until reaching new technologies such as multimedia. His obsessions are desolation, migration, memory and collective imaginary, and images taken from photography and video form part of his plastic world.