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.
Journalist Carlos Díaz Sosa interviewed Luis Chacón on his exhibition of prints at the Ateneo in Caracas. Chacón explains that he has recently decided to produce single-edition prints—he calls them “print-objects”—that pursue a kinetic effect. To that end, the artist has made what he deems satisfactory use of the intaglio technique with slight modifications on the resulting print, specifically in relation to the indentation of the paper’s margins and the mounting of the work using canvas stretchers placed at certain angles and later assembled as a box.
In this interview by Carlos Díaz Sosa, Venezuelan artist Luis Chacón (b. 1927?2009) reasserts the controversial position on the reproducibility of prints that the artist had held since 1967. Chacón states that there is a need to make single-edition prints using intaglio plates, which means the resulting work is not a monotype. That critical stance on printmaking was discussed in the press at the time in articles like “Luis Chacón: ya no podemos hacer grabados con el criterio de hace 5 siglos” published in El Nacional newspaper (Caracas, June 29, 1967). This interview provides important new information regarding the artist’s pursuit of a kinetic effect that does not require the viewer to move physically. To that end, Chacón proposes a strident rupture with the traditional way of exhibiting graphic arts. In this article, the journalist takes pains to provide a technical description of Chacón’s method, detailing his novel approach to mounting and to installing the work and pointing out the specific graphic qualities he obtains with each type of metal by means of different inks; he considers as well the dimensions of the works. The journalist comments on the lack of printmakers at major international biennials—something that Chacón recognizes as well, even though he participated in the XXXII Biennale di Venezia in 1964 along with Jesús Rafael Soto and Elsa Gramcko. Chacón states that graphic arts figure prominently at those major shows, whereas in Venezuela painting is privileged above other media.
[For another text by Carlos Díaz Sosa on Luis Chacón, see in the ICAA digital archive “Luis Chacón, Grabador” (doc. no. 1151349)].