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  • ICAA Record ID
    1157174
    TITLE
    Los nuevos procesos y la representación figurativa / Zuleiva Vivas
    IN
    La desaparición de los límites. -- Caracas, Venezuela : Fundación Claudio Perna, 2000
    DESCRIPTION
    p. 71-98
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Vivas, Zuleiva. "Los nuevos procesos y la representación figurativa." In La desaparición de los límites, 71-98. Caracas, Venezuela: Fundación Claudio Perna, 2000.
Synopsis

In the essay “Los nuevos procesos y la representación figurativa” [The New Processes and Figurative Representation], chapter III of the book La desaparición de los límites [The Disappearance of Limits], author Zuleiva Vivas explains the diversity of experimental processes (in different mediums) used by Claudio Perna: installations with other artists, the use of a Polaroid camera, silkscreening, copies of drawings, super-8 films. Vivas also reviews the diverse artistic experiences undertaken; among them, self-copies which cite the opinion of curator Lourdes Blanco; thought art, emotion art and directed art. The text is complemented by the theories of different authors: Simón Rodríguez, Julio Ortega y Marshal Mac Luhan, among others. 

Annotations

 

This [text] is a chapter from the book La desaparición de los límites [The Disappearance of Limits]. In “Los nuevos procesos y la representación figurativa”, [The New Processes and Figurative Representation] curator Zuleiva Vivas (n. 1951) deftly presents the type and diversity of methods used by Claudio Perna (1938-97), a Venezuelan conceptual artist of Italian origin; she explains the artist’s proposal for “figurative” representation that was not the traditional “figurative art.” Vivas has dedicated a great part of her work as a curator and research to Perna’s work. Their friendship, as well as her vast knowledge of his work, permits her to opine authoritatively on his creative obsessions, his incessant activity, and the enduring presence of the environment in all his proposals. The author also highlights Perna’s opinions on the function of an artist and art, both in Venezuela and in Latin America.

 

[For other texts on this artist, see the ICAA digital archive: “1: Hoy es arte lo que no era” by Margarita D’Amico (doc. no. 1068360); “El autocurrículum de Claudio Perna, escultura social y novela hiperrealista” by Luis Enrique Pérez-Oramas (doc. no. 1161917); “Claudio Perna o cómo ser libre en la marginalidad” by Roberto Guevara (doc. no. 1080814); (without title) [Vivir quiere decir dejar huellas…]” by Elsa Flores (doc. no. 1063156); “Arte - idea – geografía” by María Elena Ramos (doc. no. 1080766); “Lo fundamental es inventar, Claudio Perna: Este domingo expondrá más de cincuenta dibujos en la Sala Mendoza” by Mara Comerlati (doc. no. 1068403); “Disfruto el estilo de no tener estilo Claudio Perna” by José Napoleón Oropeza (doc. no. 1067382)  and by Lourdes Blanco “Claudio Perna: fotocopias” (doc. no. 1080715). The following texts by Zuleiva Vivas are also available: Zuleiva Vivas: “Intervención creativa en el contexto social” (doc. no. 1161969), “Visión panorámica de las nuevas cartografías” (doc. no. 1157158), “Los nuevos procesos y la representación figurativa” (doc. no. 1157174), “Las opciones del tiempo para el nuevo espíritu” (doc. no. 1065674); “Claudio Perna y el arte del pensamiento” (doc. no. 1163950)].

 

Researcher
Maria Elena Huizi
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Reproduced with the permission of Zuleiva Vivas, Caracas, Venezuela