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.
Writer Enrique Viloria analyzes the work of Miguel von Dangel from a perspective based on environmental conservation, suggesting that in his encapsulated landscapes, nature retains its essence, transcending the work (which is imprisoned and preserved), but paradoxically free of human destruction. These works, without any adornment, suggest the potential of the beauty of “the natural” which functions as an aesthetic code. These represent, in his opinion, the divination of nature as a concrete expression of God and, as such, they constitute a “theology of American landscape.”
In this text, writer Enrique Viloria [Vera] (n. 1950) refers specifically to the Encapsulados [Encapsulated] series by the Venezuelan artist of German origin, Miguel von Dangel (n. 1946). In these works, the artist presses into polyester elements taken directly from the landscape: earth, animals, and vegetation. These pieces continue the artist’s characteristic use of elements taken from nature in order to create a novel version of the landscape; nevertheless, there is not imitation nor representation because the Encapsulados are nature detained and deprived of its essential functions. Because of this, certain critics (Viloria included) have perceived an environmental aspect in the aforementioned series; that is, a denunciation of human intervention in nature. Von Dangel himself, nevertheless, rejects that as a basis for his creation [for more on this, see María Cecilia Valera’s “Interview with Miguel von Dangel” (1993)]; the artist affirms being the divine revelation expression, and that is how he describes it in his journal on January 27, 1983: “These fractions of the natural universe that were revealed to me, this personal journey to God (…).” This concept implies, for the author, a “theology of American landscape." [For other critical writing on his work, see the ICAA digital archive: by Yasmin Monsalve “Mi obra ha tenido que luchar contra muchos prejuicios: Un premio nacional visto con la luz de Petare” (doc. no. 1102125); by Elsa Flores, both “Miguel von Dangel: La respuesta latinoamericana (I)” (doc. no. 1155150) as well as “Miguel von Dangel: La respuesta latinoamericana (III)” (doc. no. 1154906) and “Miguel von Dangel” (doc. no. 1056044); by Roberto Montero Castro “Transfiguraciones de Miguel von Dangel” (doc. no.1153996); essays by María Luz Cárdenas “La Batalla de San Romano de von Dangel (I) (doc. no. 1154028) and “La Batalla de San Romano de von Dangel (II)” (doc. no. 1154092); by Ruth Auerbach “Hoy, el paisaje es aquí y ahora” (doc. no. 855314); and by Lourdes Blanco “Miguel von Dangel” (doc. no. 1097326); and the following interviews, by Axel Stein “Interview with Miguel von Dangel” (doc. no. 1102348); “Entrevista con Miguel von Dangel” (doc. no. 1154060); by Aurora Blyde “Lo trascendente de lo cotidiano: conversación con Miguel Von Dangel” (doc. no. 1101950); and by María Josefa Pérez “Miguel von Dangel: No creo el cuento de que Reverón era loco” (doc. no. 1154012); and finally, the article by Víctor Guédez “Lo barroco y lo simbólico en la obra de Miguel von Dangel” (doc. no. 1154124)].