Untitled 1956

Curator: Lolo Soldevilla's "Untitled," created in 1956, offers a fascinating example of her explorations in geometric abstraction and mixed-media approaches. Editor: It feels strangely calm, doesn't it? Even with the array of geometric shapes, the subdued palette creates a sense of order, like a carefully organized system. I am instantly drawn to the surface of the canvas; what materials are we seeing here? Curator: Indeed. Soldevilla utilizes a combination of paint and other materials, demonstrating a shift in Cuban art towards concrete art. She, along with a number of other artists from the Taller 17 printmaking collective, explored new means and approaches to production. This, in addition to other exhibitions she put on, moved Cuban art towards a more progressive style. Editor: It's striking how this echoes broader conversations happening in the 1950s—artists grappling with the role of materials and processes in defining art. The combination moves away from the easel tradition toward a more democratic distribution and invites consideration of how labor is integrated into the work itself. Were these the concerns of Soldevilla in this period? Curator: Precisely. The politics of imagery within a post-revolutionary context influenced her work during this time. Note that, while it is abstract, you can see the push for order, clarity, and, frankly, progress. Geometric abstraction can function in such ways, presenting visual metaphors for societal ideals. Editor: The distribution of forms across the surface intrigues me. The weight feels intentionally balanced, though asymmetrical. Did the cultural institutions of Cuba respond well to this concrete style? Curator: In time, yes. But it wasn't immediate. Like any radical shift, it took time for it to be integrated. Consider Soldevilla's engagement within wider artistic networks; in turn, this offered channels of circulation for her work within local, regional, and international communities. Editor: Reflecting on it, "Untitled" feels like a microcosm of its time—a convergence of material exploration, utopian aspiration, and quiet aesthetic ambition. Curator: Absolutely, and it’s through those diverse lenses that we come to truly appreciate the work’s complexity and significance.