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  • ICAA Record ID
    1162003
    TITLE
    Visión profunda de campo "Cría...ojos" / Luis Ángel Duque
    IN
    III Salón Pirelli de Jóvenes Artistas : octubre 1997-enero 1998. -- Caracas, Venezuela : Museo de Arte Contemporáneo de Caracas Sofía Imber, 1997
    DESCRIPTION
    p. 30-34 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Duque, Luis Ángel. "Visión profunda de campo "Cría...ojos" In III Salón Pirelli de Jóvenes Artistas: octubre 1997-enero 1998,  Exh. cat, 30-34. Caracas, Venezuela: Museo de Arte Contemporáneo de Caracas Sofía Imber, 1997.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

Critic Luis Ángel Duque presents a brief history of “vision,” defining it as the happy convergence of the retina and the brain. In his words, it is through vision that a man sees himself, but also everything else that surrounds him; it is one of the most immediate communication methods between man and his surrounding reality. Duque refers to the human eye, but also the “ojo tecnológico” [technological eye] through which the individual visions of the Venezuelan artists participating in the third Salon Pirelli arise (Caracas, 1997).

Annotations

This text is of interest because it links contemporary art to the art of the past. Critic and curator Luis Ángel Duque (b. 1954) refers to the first art known from the Venezuelan colonial period —a drawing of a profile (eye and nose)—found at the Isla de Cubagua, an important colonial settlement due to the pearls found in abundance there. He then delves deeply into very different systems of contemplation and representation in the twentieth century. He points out the rise of technologies useful for observing and focusing reality, such as the telescope, microscope, photography, television, cinema, and video, which produced new forms of interaction between man and the world. In this way human vision was firstly transformed into a “ojo mecánico” [mechanical eye] and then afterward into a “ojo electrónico” [electronic eye]; it is through these advances that man observes nature and himself in a distinct manner, creating new forms of representation.

 

[For María Luz Cárdenas’s curatorial text on the III Salón Pirelli “De la ilusión óptica a la desilusión cultural: Aproximación al III Salón Pirelli” [From Optical Illusion to Cultural Disillusionment: An Approach to the Third Salon Pirelli] see the ICAA digital archive doc. no. 1162019].

Researcher
Mónica Quintini
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Reproduced with permission of Luis Ángel Duque, Baruta, Venezuela
Location
Biblioteca Museo de Arte Contemporáneo de Caracas