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—which appeared in the catalogue for Relieves en el espacio (Caracas: Galería Estudio Actual, 1970), the exhibition of works by the Italian graphic designer Nedo—discusses the last twenty years of the latter’s career as a painter. Roberto Guevara, who wrote the article, critically examines a range of works, from those in which figures and colors take shape in space (though these elements would later be displaced by “geometric concrete art”), to the final purging that Guevara refers to as the “paradigm of white on white.”
This article, “Nedo, relieves en el espacio,” by the critic and curator Roberto Guevara (1932–98), was published in the catalogue for the homonymous exhibition (Caracas: Galería Estudio Actual, 1970) of works by the graphic designer, painter, and draftsman Nedo M. F. (1926–2001). Guevara’s article has a brief introduction and three short chapters: “El otro espacio,” “Luz demiurgo,” and “Del espacio y la materia fluctuante”. He examines Nedo’s painting from the perspective of the visual arts, and describes it as a profound reflection on the actual nature of space and its perception. Guevara discusses some of its values, such as the monochromatic feature and the geometric relief, the artist’s changing attitudes to the use of color throughout his career, or treating the canvas’ texture and porous quality as a visual element. Guevara sees certain similarities between Nedo’s work and both Optic and Kinetic Art as regards changes in the perception of light and the influence of the viewer’s movement or position. Guevara sometimes waxes metaphorical as he explains his characterization of Nedo’s work as a profound reflection on space. For example, he speaks in broad yet vague terms about the “condition of absolute,” “ineffable architecture,” and “fluctuating matter” in these works.
It should be noted that this essay refers to the work Nedo produced in about 1970, at the time when he was considered to have arrived at the apex of a process, and produced his finest work, the Progresiones series.