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.
In the text, “Obra reciente: Oscar Machado,” published in the catalogue for the 1990 exhibition Obra reciente (Caracas: Sala de exposiciones RG, in the Casa de Rómulo Gallegos), the curator Ruth Auerbach deems the work of the sculptor Oscar Machado hard to interpret. In her opinion, this is because of the unpredictability that serves the sculptor as a way of entering into the creative process of sculpture without adhering to models or following established styles. Machado’s starting point is certain "aesthetic moments . . . that are defined by memory and resolved in forms that appear to be arbitrary, eclectic and anachronistic." As Auerbach sees it, the sculptor’s forms, materials, and colors are united in a metamorphosis. Starting from their traditional roles as "classical instruments for three-dimensional composition," these elements are transformed into "categories that transmit ideas." To the curator, Machado’s work not only represents sculpture in Venezuela in its own time, but will continue to do so in the near future.
In the critical text “Obra reciente: Oscar Machado,” the curator Ruth Auerbach is emphatic in declaring the importance of Oscar Machado’s sculptural work. In her opinion, this is sculpture that is ready to assume the risks presented by the future. This document highlights the original nature of the sculptor—including a kind of Conceptual art perspective—as he works with traditional sculptural materials. Introducing these to a new generation of artists, Machado retains the sculptural language he has always used while taking advantage of the spatial resources of installation art. Auerbach points out that Machado’s work is in a continual process of change; in this work, "there is a steady stream of ideas." To the curator, Machado “enriches” the sculpture made in Venezuela; in particular, she considers it innovative. She believes this is clear to the objective observer, both in the way form dominates and in the presence of objects from an imagined “archaeology of the future.” All these elements place the work at a considerable distance “from the traditional treatment of sculpture.” To the writer, Machado represents a new way of coming to terms with sculpture in Venezuela. Most importantly, the work created by Machado has been in “consonance with the energy that has surged into art in the past decade.” This text was also published in the daily newspaper El Universal on September 21, 1990, under the title: “Oscar Machado: la nueva escultura en Venezuela." The text was then published once more, just as it appears in the original Sala RG exhibition catalogue, in the catalogue/guide CCS-10, Arte venezolano actual (Caracas: Fundación Galería de Arte Nacional, 1993, p. 39).