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 historian Juan Carlos Palenzuela appeared in the catalogue for the Taller Huella exhibition held at the Venezuelan Embassy in Paris in 1995. Palenzuela briefly describes the pieces submitted by participating artists, whose work is considered representative of contemporary printmaking in Venezuela, and whose flexibility and openness are apparent in the finished product. He mentions characteristic features of each artist’s work: Corina Briceño, exploring the body and nature; Gazniella Pagazani’s oneiric evocations; Malina Gallac, experimenting with the texture of paper; Solange Salazar, researching space; and Adrián Pujol, working with the sea and fish.
When the Taller Huella exhibition was presented at the Venezuelan Embassy in Paris in 1995, the critic and historian Juan Carlos Palenzuela (1954–2007) was stationed there as cultural attaché. According to members of the Taller Huella, reminiscing in catalogue essays after the critic’s death, Palenzuela was a great promoter and supporter of their group. At the time of this exhibition, Taller Huella had been around for fifteen years as a constant presence in the Venezuelan graphic arts world. Membership consisted of five artists, all graduates from CEGRA (Centro de Enseñanza Gráfica) and members of TAGA (Taller de Artistas Gráficos Asociados). The Taller was very busy from 1980 through 1995, and has worked together sporadically since then. The group played an important teaching role and had several exhibitions in Venezuela. They also had some international exhibitions, such as the one that Palenzuela mentions (Paris, 1995), and an earlier one in Cuba at the Casa de las Américas (Havana) in 1993.
[For more about TAGA, see the article in the ICAA digital archive by Bélgica Rodríguez “El TAGA: un sueño de verdad” (doc. no. 1068980); by Zuleiva Vivas “La Huella del grabado” (doc. no. 1101476); and the newspaper articles by Mara Comerlati “El TAGA le ofrece al artista la libertad de crear” (doc. no. 1101412), and “El TAGA aspira a ser la casa del artista gráfico venezolano” (doc. no. 1081133)].