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 is the catalogue for the event organized by the Venezuelan artists Yeni and Nan (Jennifer Hackshaw and María Luisa González), which included Integraciones en agua, the performance work they presented at the Galería de Arte Nacional (Caracas, 1982). The catalogue has three introductory essays: one by María Elena Ramos (“Yeni y Nan, o el espacio transformado”), and two by Juan Calzadilla (“Aproximación al lenguaje de acción,” and “El sentimiento de la experiencia compartida”). The catalogue also includes photographs, a brief review, written by the artists, about the performance works they have produced (1979–81), and their respective curricula. Ramos reviews the works from a symbolic and aesthetic perspective. Calzadilla, on the other hand, explores the genealogy and history of international and Venezuelan performance art in his first essay and, in his second, reviews the works presented at this event.
In this catalogue, the GAN (Galería de Arte Nacional) assembled a very complete collection of facts about Jennifer Hackshaw, or Yeni (b. 1948) and María Luisa González, or Nan (b. 1956), two noted contemporary Venezuelan artists who were famous for the formal excellence and the depth of their productions of performance art. From 1979 to 1986, Yeni and Nan worked together to create performance art and multimedia installations.
This catalogue is, in fact, very well designed and produced. It features three essays by two celebrated critics that include a wealth of information, biographical details about the artists, and a valuable visual record and descriptive review of the works jointly produced by these artists during their early years (1979–81). The following events are mentioned under the sub-heading “Performance Art 1979–1981”: Nacimiento I, 1979; Nacimiento II, 1979; Imaginación de la inocencia, 1979; Presencias, 1980; Arte Artista, 1980; and Integraciones en Agua (Project for the São Paulo Biennial), Acción Divisoria del Espacio, and Simbolismo sobre la Identidad, all three of which were produced in 1981.
Considering the scant number of monographs about contemporary artists that have been published in Venezuela, this is indeed an exemplary document. The photographs, most of which are by Carlos Germán Rojas, are of excellent quality. Carlos Rodríguez was responsible for the graphic design. This catalogue says a lot about the quality of the documents published by Venezuelan museums in the twentieth century.