The 2018-19 exhibition Convergences/Divergences, Primitive Sources of the Modern at JCMAC explored affinities of Modern works with a quarter of the collection of Charles Brewer-Carías. “There are stories about Modern artists like Carlos Cruz-Diez and Soto, that they always looked behind them and saw the design that the Indians made,” Maldonado said. In 2017, he acquired the collection of Charles Brewer-Carías, a dentist turned anthropologist and explorer who spent decades studying native cultures and languages, especially those of the Ye’Kwana people, whose hand-woven baskets share a geometry with that of Modern abstract artists. Maldonado also collects art by Indigenous peoples in Venezuela. A Penetrable sculpture (an environment of hanging PVC strands) by Jesús Rafael-Soto, loaned by Maldonado, is on long-term view at the Pérez Art Museum Miami (PAMM). “I wanted to integrate Latin American modernity with European and also with American modernity,” Maldonado tells The Art Newspaper from Caracas.

The objects come from the collection of the businessman Juan Carlos Maldonado, who has also acquired works by the kinetic artists who inspired Carlos Medina, as well as abstract art by American artists Josef Albers, Sol LeWitt, Kenneth Noland and Donald Judd. If Medina’s work at Pinta salutes pioneers of abstraction in Latin America, an exhibition at the Juan Carlos Maldonado Art Collection (JCMAC) in Miami’s Design District considers stylistic ancestors farther back in history.Įl Universo Ye’Kwana–Vivir en el Medio del Selva ( Ye’Kwana Universe–Living in the Middle of the Jungle ) shows works by the Ye’Kwana people of the Amazon region of Venezuela. “It’s my natural market,” he says, “not like before, but a lot of companies and people still collect.” Artists with lesser reputations say they barely sell anything. Medina says his work continues to sell in Venezuela, despite the country’s dire economic situation. Working with a group of five French, American and Venezuelan dealers, Medina hopes that an American museum will show the ephemeral shapes. He adds that the “huge dew drops” were a hit (especially with children) when shown by Galerie Denise René at the Palais Royal in Paris in 2018. His Neutrino Spheres, also shown indoors at Pinta in smaller aluminium versions, are a project “to geometricise the cosmos around a new matter”, Medina says. Medina is heir to the geometric abstraction of the Venezuelan kineticists: Jesús-Rafael Soto, Carlos Cruz-Diez, Gego (Gertrud Goldschmidt) and Alejandro Otero. The venue is hosting the Pinta Miami fair (until 4 December), featuring 48 galleries from Latin America. Two massive, feather-light transparent orbs, from Paris-based Venezuelan sculptor Carlos Medina’s Neutrino Spheres series, greet visitors outside a repurposed former Pan Am hangar in Coral Gables. Yet as throngs of the country’s residents risk their lives to enter the US via its southern border, Venezuelan art has found its way to Miami. Venezuela is still largely shunned by the international community.

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