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Critic Perán Erminy expresses his opinion of the works by Venezuelan artist Luis Guevara Moreno exhibited at the Sala Mendoza in Caracas. He asserts that because Guevara Moreno has replaced “intimate and autobiographical lyricism” with the intensity of visual effects, the works in this exhibition illustrate formal as well as conceptional innovation. Regardless, Erminy clarifies that Guevara Moreno’s work is still geared toward expression and that all the new visual effects he deploys aim to heighten expressivity. Erminy also points out the thematic novelty of this work in, for instance, the predominance of images of crowds and of pornographic images. 



In this article, Venezuelan historian Perán Erminy (1929–2018) formulates a comparative analysis of earlier work by Luis Guevara Moreno (1926–2010) presented at the Sala Mendoza in Caracas and the work in the exhibition Pinturas, dibujos, grabados in 1969. Erminy describes and specifies the formal changes in Guevara Moreno’s production as he moves away from “intimate and autobiographical lyricism” to instead emphasize “visual effects.” The assessment of the author differs from the assessment of the artist, however, as Guevara Moreno asserts that a change has ensued in the work’s “expressive quality,” which Erminy sees as a constant; the critic asserts that despite a formal “shift,” Guevara Moreno’s work betrays the “expressive intention” for which the artist is known.  


Erminy’s analysis ventures beyond the works presented in the show. It gives the reader a broad understanding of what the artist has done and the transformations that these new, more technically masterful and formally striking, works entail. 


Lizette Álvarez Ayesteran
Fundación Mercantil, Caracas, Venezuela
Courtesy of Peran Erminy, Caracas, Venezuela
Centro de Documentación. Museo de Bellas Artes de Caracas. Plaza de Los Museos, Parque los Caobos, Caracas 1010,   República Bolivariana de Venezuela. Telf:  58-212-5726841 / 5735035 / 5764028