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 article announces the exhibition of Venezuelan artist Luis Chacón at the Galería El Pez Dorado (Caracas). The show was mounted within the context of the transition that the Círculo Pez Dorado had passed through, whose leadership was now in the hands of young artists. Chacón’s exhibition, reviewed in the article, included representational engravings made in the 1950s and 1960s with traditional techniques.
This anonymous newspaper article reports on the exhibition of early engravings by Luis Chacón (1927?2009). By that time the artist had had seven individual exhibitions; in his country, in Caracas, Maracaibo and Valencia, as well as in Spain, in Barcelona and Madrid. The exhibition included ten engravings created in the 1950s, including some pieces that had been crafted in Spain. The article offers a concise view of Chacón’s evolution, focused on his representational works up to that moment; beginning in the 1960s, he began experimenting with techniques from a new perspective. Even though he had employed traditional methods during the period 1950?60, the article comes forth as a document that speaks to his desire to produce unique graphic work. The text does not mention any series of engravings, but it is possible that his series Poder, ficción, y máscara, crafted upon his return from Spain (1951), was included in the show at the Galería Pez Dorado.
The article also offers a panoramic view of the transitional stage that the Círculo Pez Dorado was going through at that moment; on this occasion, Chacón exhibited his engravings along with the sculptures of Edgar Guinand (b. 1943).
For a complementary reading on the artist, see in the ICAA digital archive by Cuban critic José Gómez Sicre “The Planets: Series of Engravings” (doc. no. 1134580); by Chacón himself “El grabado en Venezuela” (doc. no. 1143092); and by José Antonio Rial “Chacón revive y renueva un noble arte: el grabado” (doc. no. 1151366).