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 artistic critique was written by gallery owner and art critic Carlos Rodríguez Saavedra, on several exhibitions happening in November of 1965 in Lima. He calls attention to the exhibition Yllomomo presented by Gloria Gómez Sánchez—whom he paces at the “crest of the avant-garde wave”—at the Galería Solisol. The author points out that by conflating paintings that still reflected her Informalist style with objects and muñecones [Peruvian puppets or cut-outs] the exhibition summarized the artist’s recent evolution. The assemblage was an account of a collection with a “very strong expressive nature [...] that was joined to a profound search.” Nevertheless, Rodríguez Saavedra criticizes the “literary and didactic zeal” of the texts accompanying the works in which they are presented as canvases. That is, “between a two-dimensional plane and the three-dimensionality of the object.” He concludes his critique by reviewing the other exhibitions by the artists Luis Arias Vera, Wei Palumi, and Alfonso Arias Zarate.
After introducing informalist painting in Peru in November of 1965, Gloria Gómez Sánchez entered full heartedly into the experimentalist avant-garde phase of her trajectory when she presented the exhibition Yllomomo at the Galería Solisol. It was a collection of works that included framed detritus and found objects and large figures made with paper (muñecones [Peruvian puppets or cut-outs]) all with marked ephemeral characteristics. Thus, it was a glimpse of her rupture with the established Peruvian traditional styles that permeated her time’s artistic milieu, a gesture shared by other young artists. The title of the exhibition was quite significant. “Yllomomo” was the indigenous name of a swamp in Bolivia, where one of its native flowers feeds on the waste found beneath the surface of the water. In addition to regularly writing his art critiques in Expreso, one of the newspapers in Lima, Carlos Rodríguez Saavedra directed a gallery that bore his name. His opinion and accurate critique was one of the most respected of that time within the Peruvian cultural milieu. [Please refer to the ICAA digital archive for the following texts: “Actitud legítimamente artística: Gloria Gómez Sánchez en ‘Solisol by Juan Acha Valdivieso (doc. no. 1142867); and “La nueva imagen del IAC” by Mário Belaúnde Guinassi who went by the pseudonym Juan Gris (doc. no. 1142594)].