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.
This essay by the critic and curator Carmen María Jaramillo was published in the leaflet produced for the Danilo Dueñas exhibition called Local [bog-ccs] that was presented at the Museo de Arte Contemporáneo de Caracas, Sofía Imber (MACCSI) [Caracas Contemporary Art Museum] in 2003. The leaflet refers to the space-time aspect of Dueñas’ work, and to its contextual relevance. It also describes the “resistance” quality of the works and the physical space to which they belong. There are photographs of some of the works and a description of their relevance to the overall context of the exhibition.
The essay in the leaflet for the exhibition Local [bog-ccs] is perhaps the most extensive ever to have been written entirely about Danilo Dueñas (b. 1956) and the most recent review of his work. Since then, there have been only a few articles, exhibition reviews, and a smattering of critical pieces published in the press. This text is important because it identifies Dueñas as one of the forerunners of the movement that sought to renew painting in Colombia, and highlights his process, which emphasizes the connection he makes between found objects (objets trouvés) and those that are manufactured.
In this essay, the critic Carmen María Jaramillo (b. 1958) sets out to explain how the artist’s movement and perspective go beyond traditional formats in his painting, all of which revolve around his ideas of time and space. This is an innovative view of Dueñas’ work that until then had not been clearly articulated. It should be noted that in Jaramillo’s opinion, the essential relationships of movement in the work of Dueñas are those of space-time. With regard to time, there is a constant interest in exposing the passage of time in found objects and the actual creation of the works. And with regard to space, Jaramillo points to the contextual value of his pieces. The curator also sees allusions to the other on the objectual plane in these works.