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 her review of Diagonales, an exhibition of work by Venezuelan painter and sculptor Narciso Debourg held at the Galería Altamira in Caracas, journalist Moraima Guanipa describes the artist’s visual ideology and artistic trajectory. She also discusses Debourg’s enduring commitment to Kinetic art as an aesthetic exploration, his distance from the Venezuelan art scene, and his choices in terms of expressive elements. The text also announces forthcoming projects by Debourg in which art is incorporated into the public space.
In her text on Diagonales, an exhibition of works by Narciso Debourg (b. 1925), journalist and educator Moraima Guanipa (b. 1961) asserts that Kinetic art has been a constant every time the artist has participated in the Venezuelan art scene. Debourg, who has lived in Paris since 1948, was only showing sporadically in Venezuela when this exhibition was held at Galería Altamira in Caracas in 1994. Indeed, solo shows of the work of the Venezuelan painter and sculptor were held in his country no more than once a decade. The conversation between Guanipa and Debourg reveals the artist’s peculiar relationship to Venezuela. Despite the infrequency of shows of his work, he did participate in public space projects around the country. This article announces the artist’s plans to make works for the Macagua II hydroelectric plant and the Museo de Arte Moderno Jesús Soto in Ciudad Bolívar—ideas that were bolder in nature than the timid maquettes on display in Diagonales. The text demonstrates that the artist’s interest is in creations for outdoor spaces, which in his view, is where art can best perform its social function. In the eighties, works by Debourg had been installed in the Metro Chacaíto subway station in Caracas and in the Finalven building. Lastly, the text contributes to understanding the enduring commitment of an artist who almost without interruption, has produced geometric and serial work as a declaration of the values intrinsic to painting.