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.
Venezuelan artist, curator, and cultural manager Manuel Espinoza presents the exhibition La mano, la seda, el color [Hand, Silk and Color] (Museo de Arte Contemporáneo of Caracas, 1978), which featured prints on silk by nine Venezuelan artists: Carlos Cruz-Díez, Gego, Ángel Hurtado, Gerd Leufert, Alejandro Otero, Alirio Palacios, Luisa Palacios, Mercedes Pardo, and Espinoza himself. Espinoza explains that the show was born of the need to connect latent powers and resources that reaffirm the innovative and authentic work of these artists. The show tackled a major challenge: these artists were to learn a new technique—one in which, as it turned out, they were able to produce excellent work—in order to then express themselves in their own visual languages.
For the show La mano, la seda, el color, Manuel Espinoza (born 1937) describes nine widely recognized visual artists who experimented in a new medium—printmaking on silk—in order to expand their expressive possibilities. Many of them, like Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, and Luisa Palacios (1923–1990) had extensive knowledge of engraving and printmaking, and had created major works in those media, though they had never worked with this specific technique. The project, which was organized by Espinoza, took place at Taller Cobalto; the text demonstrates the novel nature of this important initiative for Venezuelan visual arts.