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.
The journalist Maritza Jiménez reviews the presentation of a book-sculpture that includes prints by Lihie Talmor and poems by the Venezuelan writer Edda Armas. Jiménez describes how the book was conceived and created by Talmor with support from Conac (Concejo Nacional de la Cultura). The Venezuelan-Israeli artist photographed the ruins of the circular Franciscan convent in San Lorenzo de Aguariacuar, near the town of Clarines (in the state of Anzoátegui), then made copper engravings of the photographs. She then invited Armas to write a poem for the (limited edition) book.
In this newspaper article, Maritza Jiménez reviews the book-sculpture Aguariacuar: la partida (Bogotá: Arte Dos Gráfico, 1994)—which includes prints by the Venezuelan-Israeli artist Lihie Talmor (b. 1944) and poems by Edda Armas—describing this complex work of art in terms that the general public can understand. Jiménez discusses Talmor’s creative process and the object of her work: the circular ruins of a Franciscan convent in a small town east of Caracas. The journalist discusses Talmor’s use of prints for this project and Armas’ involvement, explaining that the poet lived in the area when she was a child. The latter’s poems complement Talmor’s prints as well as her sculptures which, in many cases, refer to an interior space (that we call memory), all of which are based on the idea of a “box.” Jiménez writes: “the book opens to reveal a compilation of works that unfold like an accordion. The poem, like the images, initially appears in its full form and is then presented in excerpts throughout the book.” Talmor and her book-sculpture represented Venezuela at the Bienal de La Habana in 1994. In that same year, Talmor and Armas collaborated on another book, La creatividad del mal (Caracas: Edición de la Artista, 1994) which, like the earlier one, was published in a limited edition.