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 essay by Víctor Guédez entitled “Manuel Quintana Castillo: Una visión retrospectiva” was featured in the catalogue for the exhibition La piel del tiempo: Manuel Quintana Castillo, held at the Fundación Galería de Arte Nacional in 2002. Guédez’s text provides an overview of the artist’s career starting with his studies at the Escuela de Artes Plásticas y Artes Aplicadas in Caracas. It discusses his magic realist work, his interest in Cubism, his brief incursion into Informalism, his “topological painting” period, and his current production. In addressing the philosophical, aesthetic, and conceptual questions that have marked Quintana Castillo’s production, Guédez affirms that intimacy, time, space, memory, and transformation as part of the the artist’s ongoing evolution.
“Manuel Quintana Castillo: Una visión retrospectiva” by Venezuelan historian and art critic Víctor Guédez was among the texts published in the 130 page catalogue for the exhibition La piel del tiempo: Manuel Quintana Castillo (Caracas: GAN, 2002, 11–35), held at the Fundación Galería de Arte Nacional in 2002. The essay cites a number of distinguished experts on the artist, as well as texts by Quintana Castillo himself that are crucial to understanding his philosophical-aesthetic concerns. The exhibition was the most complete show of Quintana Castillo’s recent work at the time to have been held in a decade. In addition to this text, the catalogue contains an extensive chronology of the artist’s life, a bibliography including pertinent articles in the press, and a group of poems—some of them never before published—by Quintana Castillo himself.