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.
The curator Luis Ángel Duque offers a critical review of the artistic career of Jorge Pizzani during the 1980s. The text covers a period of successive expressive transitions by Pizzani: from drawing to painting, from paper to canvas, and from color to matter, pushed to an extreme of a sculptural realization. Similarly, he addresses the techniques chosen by the Venezuelan artist (action painting and image-based installation), and/or the themes (between the human figure or the landscape), as well as the defining events for selecting the very particular expressive elements.
In 1990, the Galería de Arte Nacional in Caracas organized the exhibition Horizontes circulares, which showcased the work of Venezuelan artist, painter, and graphic designer Jorge Pizzani (b. 1949). The exhibition brought together works created between 1980 and 1990. In the text of the catalogue, the curator Luis Ángel Duque analyzed the work in detail that was produced during this decade and the transformations with which he experimented, which offered an understanding of what is proposed as a “process” as well as the various articulations of his “expressive phases.” Duque reflects on the strategies used by Pizzani when dealing with painting through drawing (or vice versa), thus providing information with which to discuss drawing on a broader and more expanded level, or about the borrowing between genres and formats. Within this perspective, the thematic scenario is also called into question when it becomes evident that there is an interrelationship between what is represented (the landscape and primary geography), how it has been created (action painting), and the formats that have been used (monumental scales or pictorial installations).
This analysis is inserted into the discussions about artistic categories current at the time. Similarly highlighted were the important events brought about with every creative turn by Pizzani, as in his journeys (when he stayed in Paris, or on his return to Venezuela), or his encounter with the nature of color at the exhibition by the English artist William Turner.