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.
According to the poet Gabriel Araujo, the Venezuelan visual artist Luis Romero’s works on paper stretch limits and genres, and overrun the borders of literature. Romero associates images with words that complement each other (“the opacity of the word and the resonant sound of the image”) in situations that range from the pedestrian to the universal, all seasoned with humor and passion. In Araujo’s opinion, every writer will see his own creative process in these works by Romero.
This essay by Gabriel Araujo was the main text in the catalogue for Entrelíneas (Caracas: Monte Ávila Editores, 1999), the exhibition of work by the visual artist Luis Romero (b. 1967) at the Complejo Cultural Teresa Carreño, in Caracas. It was not by chance that a poet was chosen to write the catalogue essay, or a bookstore selected as the exhibition space, since Romero’s work involves constant interaction between words and images in a sort of visual poetry that looks at everyday domestic and arbitrary connections, as in this exhibition. Araujo, who fully understands the visual artist’s creative process, writes about the multiple associations between image and text, focusing his review on the many references to and loans from both genres that convey the ambiguity that dilutes the limits in Romero’s work.