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 text by writer Darío Ruiz Gómez was written on the occasion of an exhibition of prints by artists Umberto Giangrandi, Carlos Granada, and Fabio Rodríguez. Ruiz Gómez contrasts Colombian art’s widespread lack of commitment with the vitality of the Colombian people, a situation aggravated by the fact that many artists are indifferent to the reality in which they live. The prints by these three artists, in contrast, take an ethical stance on the situations besetting the country. The author praises these three artists for engaging and analyzing on a pictorial level the complex reality facing Colombia. Issues like torture, for example, are not represented as allegories but rather as dramatic events that confront the viewer with the loss of dignity that they imply. It is difficult to remain indifferent before such images. In the author’s view, essential to this work is its ability to restore the power of the committed image.
This text by Colombian poet, educator, and art critic Darío Ruiz Gómez (b. 1936) discusses the work by the three artists mentioned in Testimonios—Umberto Giangrandi (b. 1942), Carlos Granada (b. 1933), and Fabio Rodríguez (b. 1950)—all of whom were members of the Taller 4 Rojo. It also addresses their ethical approach to their work.
Founded in 1971, Taller 4 Rojo brought together individuals interested in producing testimonial art that reformulated the usual aims of artistic production. The group’s members—Umberto Giangrandi, Carlos Granada, Nirma Zárate (1936–99), Diego Arango (b. 1942), Jorge Mora, and, later, Fabio Rodríguez—were in contact with trade unions. They formed the Taller Escuela de Artes Gráficas 4 Rojo not only to make art but also to work with other forms of expression (publications, film, and educational materials) geared to different sectors of workers’ movements. The group’s work in the graphic arts was key to Colombian art not only because it raised awareness and furthered mastery of graphic media, but also because it demonstrated the possibilities of the graphic arts as communication media in a milieu steeped in painting and sculpture.
Ruiz’s text places emphasis on the ethical issues that the members of the group deemed vital to art and its making. Work that attested to the situation facing the country and Latin America as a whole questioned all forms of cultural colonialism and individualism. The group’s work was not, then, geared to chronicling daily life but, rather, to evidencing how the artist should embrace his function in relation to society and reality. As a result, issues like violence, repression, and opposition to imperialist practices were recurrent in the production of artists for whom the notion of “the political” did not lie in ingenuous allegories, but in taking an ethical stance on the problems of the day.