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María Luz Cárdenas, the curator of the I Salón Pirelli de Jóvenes Artistas, explains why a new Salon was created for young Venezuelan artists. She identifies the Salon’s immediate history, justifies its creation, and describes the guidelines or parameters for participating artists. Cárdenas also provides a review of recent contemporary Venezuelan art, and lists the different categories that have been established for works submitted to the Salon: “Cuerpo” [Body], “Lenguaje” [Language], “Naturaleza” [Nature], and “Actitudes” [Approaches].
This essay by the curator María Luz Cárdenas (b. 1952) was published in the catalogue for the first edition of this Salon, an event which offered an important review of new Venezuelan art. The third and final version of the Salón Nacional de Jóvenes Artistas was held in the same exhibition rooms at the MACCSI in 1985. The Salón Pirelli was created and presented (for the first time in 1993) in an attempt to reclaim, update, and renew the spirit of the 1985 event where many artists exhibited the latest 1980s trends in painting, drawing, sculpture, and other projects. The I Salón Pirelli de Jóvenes Artistas therefore filled a seven-year void during which Venezuelan museums neither promoted nor supported emerging artists with events of that nature.
To read other articles by Cárdenas about the Salón Pirelli, see “De la ilusión óptica a la desilusión cultural: arte desde el exilio: enfoque metodológico y pautas generales de aproximación al II Salón Pirelli de jóvenes artistas y lenguajes” [doc. no. 1161345]; “De la ilusión óptica a la desilusión cultural: aproximación al III Salón Pirelli” [doc. no. 1162019]; and “Apostando a futuro: notas sobre del V Salón Pirelli” [doc. no. 1162038]; see also the article by the Venezuelan art critic and curator Ruth Auerbach, “Salón Pirelli: primera aproximación al arte joven en la década de los noventa en Venezuela” [doc. no. 1161411].