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Historian Berta Taracena discusses the trajectory of painter Jacobo Borges in relation to the works presented in the show Jacobo Borges: magia de un realismo crítico, held in Mexico City. She explains that Borges’s early work makes use of monumental forms and synthetic images to represent historical and social realities. Over time, those forms and images turned into symbols that allow for conjecture. Taracena argues that Borges’s later painting operates on a number of different levels, one related to the circumstantial, another to underground realities, and a third “transhuman” level steeped in imagination. In Taracena’s view, Borges represents a dramatic and novel version of humanist Latin American art. In closing, Taracena calls on other artists to further Borges’s language, and with it, “the world of Bolívar’s dreams.”
Painter Jacobo Borges was warmly received in Mexico not only by the specialized press but also by the public at large as the show, Jacobo Borges: magia de un realismo crítico, held at the Museo de Arte Moderno in Mexico City in August and September of 1976, was visited by many. This article by Berta Taracena illustrates the art critic and historian’s admiration of Borges’s work; she finds parallels between his production and the work of some groups of Mexican artists (for instance Confrontación 66 and Nueva Presencia) as well as artists from other countries in the region. Some of the comparisons she makes are anachronistic (for instance, the Venezuelan group El Techo de la Ballena had disbanded in 1968). Taracena underscores the presence of a strain of humanist painting she views as a new force specifically within American and Latin American art. Nonetheless, she does not deem it impossible that that painting transcends the Latin American world. To do so, and to make possible Simón Bolívar’s dream, presumably of a unified Latin America, it must first consolidate its language.
For other texts on Jacobo Borges’s work, see by Donald Kuspit “Jacobo Borges’s creation of potential space / Jacobo Borges e la creazione dello spazio potenziale” [doc. no. 1060608]; by Perán Erminy “Sin título. [Una exposición de obras de Jacobo Borges]” [doc. no. 1060424]; the review by Elizabeth Pérez Luna “Jacobo Borges: La pasión de la identidad” [doc. no. 1063714]; by Inocente Palacios “Jacobo Borges” [doc. no. 1060361]; by critic Roberto Guevara “Sin título. [Un día el poeta sentó la belleza en sus rodillas…]” [doc. no. 1060477]; the interview by Lenelina Delgado “Somos una ficción” [doc. no. 1063831)]; the one by Armando J. Florez entitled “El artista debe superar las limitaciones de las ideologías: Jacobo Borges en Nueva York” [doc. no. 1065435)]; and the one by José Luis Colin “Entre la acción colectiva y la búsqueda individual: Jacobo Borges” [doc. no. 1063769].