Documents of 20th-century Latin American and Latino Art Home


Document first page thumbnail
  • ICAA Record ID
    En tiempo real (horas, minutos, segundos...) / Luis Ángel Duque
    Pirelli 2003 : VI Salón Pirelli de Jóvenes Artistas. -- Caracas, Venezuela : Museo de Arte Contemporáneo de Caracas Sofía Imber, 2003.
    p. 17-21 : ill.
    Book/pamphlet article – Essays
    Duque, Luis Ángel. "En tiempo real (horas, minutos, segundos...)." In Pirelli 2003: VI Salón Pirelli de Jóvenes Artistas, 17-21. Caracas, Venezuela: Museo de Arte Contemporáneo de Caracas Sofía Imber, 2003.

In this text on the sixth Pirelli Salon by critic Luis Ángel Duque, he references the appearance of television as a mass market industry with the capacity to bring together large audiences on the basis of a global society. In his judgment, it is through television (beginning at the start of the 1950s) that the ability to immediately transmit information that was the beginning of real-time perception of the world. News that was previously received in hours or minutes was now transmitted in mere seconds, producing a fascinating sensation, in many cases stifling, of the world as a “global village.” This was the premise with which Duque brought together the participating artists in the sixth Salon Pirelli.


Luis Ángel Duque (b. 1954), critic and curator of Venezuelan art, connects the art presented in the sixth Salon Pirelli with events of universal relevance that initiated the “globalized era.” He identifies occurrences such as the moon landing of Apollo IX in 1969, and the picture of the Earth from space taken from Apollo VI in 1966, the transmission of which had a massive impact on humanity, creating a sensation of collective awareness and a panoptic vision of world events. The forty-five young artists who participated in the sixth Salon Pirelli showed, from a very individual perspective, art concerned with the following themes: the planet, the earth as a holistic concept and a living entity that is home to us; language and narrative manifested through diverse artistic practices; the city (Caracas as the receptacle of different topographies, social groups, and architectural typologies); art, the reflection on and revision of art history and artistic objects; the body as object/subject of art.


There is another article by Duque that offers an abbreviated history of Venezuelan art salons: "Notas sobre los salones de Jóvenes artistas" [Notes on the Salons Featuring Young Artists (1981–1995)] in the ICAA digital archive doc. no. 1161427]. With regard to other aspects of the Salon Pirelli, see: three texts by curator María Luz Cárdenas, “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” [From Optical Illusion to Cultural Dillusionment: Art in Exile: A Methodological Focus and General Guidelines for an Approach to the II Salon Pirelli of Young Artists and Artistic Languages] (doc. no. 1161345); “Aproximación al III Salón Pirelli” [An Approach to the III Salon Pirelli] (doc. no. 1162019); and “Apostando a futuro: Notas sobre del V Salón Pirelli” [Betting on the Future: Notes on the V Salon Pirelli] (doc. no. 1162038); as well as the text by Ruth Auerbach, “Salón Pirelli: Primera aproximación al arte joven en la década de los noventa en Venezuela” [Salon Pirelli: First Approach to Young Art in 1990s Venezuela] (doc. no. 1161411)].

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