The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this notebook, which is one of several kept by Colombian artist Carlos Rojas, the author writes down thirty-two points essential to his art. Written like a manifesto, this particular manuscript contains ideas that Rojas considers innate to his creation, the possible functions of art, the ethical position of his work as an artist, the relationship between the artist and the surrounding context, and his views of criticism.
This notebook gathers much of the thinking of Colombian artist Carlos Rojas (1933-1997), a painter and sculptor considered one of the few exponents of the geometric abstraction produced in Colombia in the second half of the 20th century. The text exhibits an attitude that connects Rojas’s visual production to the ideas he gradually developed about his work. Some of the phrases written here appear throughout his notebooks and, later, as responses in published interviews.
The visual formulations found in Rojas’s work are based on the adaptation and contamination of the visual codes of different European and North American avant-garde movements, codes that he articulates from a local perspective. Thanks to this approach, Rojas was one of the most outstanding artists in the country. His work is characterized by diverse visual proposals not bound together by a single style, but rather—as Rojas himself states—by a certain attitude or way of thinking that runs through each of his works.