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 Yasmín Monsalve interviews artist Lihie Talmor after she was awarded the prize in sculpture at the XXII Salón Nacional de Arte de Aragua (state of Maracay). Talmor speaks of her passage from printmaking to sculpture and of her approach to photogravure. Regarding her award winning sculpture, Talmor states that the monumental scale of the work and the sound effect produced by walking on its planes are essential. Lastly, Talmor associates collage with three-dimensional work and printmaking; she relates the collage technique to fragments of her own life, such as her Israeli roots, her childhood, her time in Venezuela, and to her emotions and intellect.
This interview with Venezuelan-Israeli artist Lihie Talmor (b. 1944) by journalist Yasmín Monsalve provides insight into Talmor’s passage from two-dimensional work (prints) to three-dimensional work (sculpture). Talmor explains that her first sculptures were born of a need to assemble planes on the basis of a two-dimensional structure. This was the origin of the works in Un marco para la tierra, 1992, the show that Talmor considers the trigger of her work in sculpture. Monsalve organizes the information clearly, which helps clarify the process Talmor describes. The interview was held because Talmor had recently been awarded the prize in sculpture at the XXII Salón de Arte Aragua (state of Maracay), and it therefore places emphasis on the artist’s sculptural work. Nonetheless, Monsalve recognizes the importance of her graphic production, including her work in photogravure. Talmor discusses her graphic project La creatividad del mal [The Creativity of Evil], a book published in 1994 and produced in installation form in 1995 and 1996. Monsalve highlights the importance of the scale of Talmor’s work, as well as the artist’s interest in sociology and psychology—specifically Jungian psychology—which makes itself felt in the photogravures in La creatividad del mal and in her monumental sculpture. The artist explains, “it’s all part of the same obsession with looking at things from the top and from the bottom, with that attraction to the hidden, which is associated with death and with the unknown.”