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 is an unsigned article about an exhibition by the Venezuelan artist Alirio Palacios upon his return from China. The journalist provides general information about the printmaking art in China and informs us that Palacios absorbed and grew through this thousand-year-old tradition. The writer also compares the academic training in this discipline in the East and West, emphasizing the severity of graphics art training in China. We are also informed that the forms most commonly used there are woodcut printing and lithography. Writing about Palacios’s exhibition of Chinese prints at the Galería Polo & Bot in Caracas, the journalist describes how Palacio learned from the tradition while maintaining respect for his own creative freedom.
This review of the exhibition by the Venezuelan artist Alirio Palacios (b. 1944), following his experience with the printmaking tradition in China, is valuable as source contemporary to the events. It allows us a closer perspective on the exhibition and its impact on the national art media. This may be one of the documents closest to the time when Palacios returned from his study trips (Rome in 1961 and Beijing 1962 to 1964). While it is true that the artist returned to Venezuela in 1965, the prints he rendered in China, under Chinese techniques and procedures, took some time to reach Venezuela. That was why the exhibition was held three years after his return. Another contemporary article was written by Julie Kruger (“There’s another China,” in The Daily Journal, Caracas, July 2, 1967). Unlike this text, the Kruger article provides more specific information, such as the artist’s own description of learning woodcut technique at the Fine Arts Academy of Beijing. The writer of the article in this file provides substantial information about the Chinese culture and an overview of printmaking as a thousand-year-old tradition in China.
[As supplementary reading, see the essay by Igor Molina “Alirio Palacios: El arte de la violencia,” which highlights the artist’s training in printmaking both in Poland and China in ICAA digital archive (doc. no. 1155701); Lenelina Delgado’s article “Alirio Palacios: El estado tiene la responsabilidad del futuro del Centro de Diseño” (doc. no. 1155596); a text by Olga González “Regresa a su país uno de los grabadores más importantes de América Latina” (doc. no. 1155203); Yasmín Monsalve’s review “Soy un gran aliado de mi país: Alirio Palacios expone xilografías en la Freites” (doc. no. 1155733); the review “La obra de Alirio Palacios Ilegó a Nuevo México: bajo el título de ‘Formas y espíritu’ expone 30 xilografías” (unsigned) (doc. no. 1155170); in addition to Edith Guzmán’s interview “Alirio Palacios se propone rescatar el grabado milenario de China” (doc. no. 1155809)].