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.
Curator Cecilia Fajardo-Hill reviews the tenth Premio Eugenio Mendoza exhibition, establishing relationships among the works that were exhibited. In this text she disclosed that the exhibition was not organized thematically, but the works were instead grouped by similar themes and approaches; they were selected by the trajectory and commitment of the participants within Venezuelan contemporary art. The author carefully analyzes numerous problems in identifying these works within their presentation.
In this text, critic and curator Cecilia Fajardo-Hill identifies the following matters associated with the works presented by the participating artists at the tenth Premio Eugenio Mendoza: on political stories (Juan José Olavaria, analyzes the political and cultural situation in Venezuela by turning the national flag into a trampoline); on the alteration of history and the creation of new narratives (Juan Nascimento and Daniela Lovera, who employ film editing to establish a new script altering the legitimacy of the original speech); on the autobiographical via social and familial relationships (Mariana Bunimov and María Cristina Carbonell); on documentaries (Andrés Manner); on feminism (Domenica Aglialoro); on the inclusion of new expressive forms in the artistic discourse (Enrique Enríquez); on patterns or stereotypes of power (Gerardo Rosales); and on the private and intimate (Conny Viera). It should be noted that since their inception, in 1984, and in keeping with the so-called 11 tipos exhibitions (since 1975), the Premio Eugenio Mendoza attempted to serve as a motivation for Venezuelan artists (residents or non-resident nationals) and for foreigners living in the country. For two decades, through eleven Sala Mendoza exhibitions (the last one in 2003), the Sala Mendoza would consolidate its space serving as a promoter and supporter of [Venezuelan] contemporary art. The catalogue of its tenth exhibition, in addition to the text written by Fajardo-Hill (the director of the Sala Mendoza at the time), presented arguments on their work by each of the participants, which was a valued complement to the vision presented by the exhibition curator. The winners of the X Edición del Premio Eugenio Mendoza were Juan Nascimento and Daniela Lovera, and there was also an award-winning mention of Mariana Bunimov and Juan José Olavarría.