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.
In this article, the critic Roberto Guevara reviews Nenias, the exhibition of works by the artist and graphic designer Gerd Leufert, who lived in Venezuela, at the Museo de Bellas Artes de Caracas. Guevara salutes the originality of Leufert’s work, and describes the exhibition as an experience that shares and acknowledges ideas, where the forms explored by the Lithuanian-born artist flood the viewer’s mind and provoke a powerful subconscious response. Guevara says: “These are forms that both are and strive to be, to mean something.” According to him, the content of the images is vague, thus encouraging the viewer’s own perception.
In his review of Nenias, the exhibition of works by Gerd Leufert (1914–98), the critic Roberto Guevara (1932–98) stresses the use of space that transforms a visual work of art into something viewers can experience as they walk through it; that is, into an exhibition. Although the researcher Victoria de Stefano (Nenias, Museo de Bellas Artes, 1985) has already discussed the underlying meaning of these forms that were conceived in 1969 for a book—focusing a little more than Guevara does on the editorial origins and the emotional content of the earliest ones in the series—Guevara provides a wealth of detail that helps to grasp the scale of this new generation of Nenias. He says: “the forms fill the viewer’s inner and surrounding space, their perception,” and “they are large, distinct forms that suddenly live with us.” Guevara describes the solemn impact of the images that flood the viewer’s mind, making it irrelevant whether they were painted or projected on a wall. The critic associates Leufert’s work with the autonomy of contemporary art, which seems to be a logical conclusion when contemplating this project. To which could be added Leufert’s concern for design in its purest sense, and to what extent form (with no apparent function) transcends graphic design to address other areas of transmission.