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 Roberto Guevara entitled “Los objetos mágicos: la iniciación en una nueva era” was featured in the catalogue to the exhibition Mario Abreu. Pinturas y objetos. Exposición Antológica 1990, held at the Galería Municipal de Arte de Maracay (state of Aragua). In it, Guevara discusses the works in object form that the artist made upon returning to Caracas from Paris in 1962, pointing out a certain Surrealist tone, references to mestizo sources and beliefs harbored in the soul of the people, and a critical capacity and religious bent whether in a ritual, celebratory, or magical sense. He also details the technical procedures and aesthetic principles that Abreu employs.
Entitled “Los reinos y los sentidos en la obra de Mario Abreu,” this essay by Venezuelan researcher and art critic Roberto Guevara (1932–98) is divided into the following sections: “Viaje a Europa y viaje a sí mismo” [Journey to Europe and Journey Within], “Los objetos mágicos: la iniciación en una nueva era” [Magic Objects: The Onset of a New Era], and “La gran pausa y el regreso de los brujos” [The Great Pause and the Return of the Warlocks]. The second of those sections—which is the subject of this synopsis—was one of the most incisive analyses of Abreu’s work to have been written at that time. The text was published in the framework of the first anthological exhibition of Abreu’s work, which featured some twenty paintings and twenty assemblages of his authorship. Guevara ventures a periodization of Abreu’s production, paying special attention to his assemblages—objects that he reads in relation to the materials and supports used as well as an aesthetic structure and anthropological concern. While these aspects of Abreu’s art may have been addressed on other occasions, here Guevara situates them in the overall evolution of Abreu’s work, tracing connections that clarify the aesthetic context in which he produces. Guevara’s text is based on commentaries made by the artist himself, opinions and ideas that support the resounding importance of this period in his production.