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.
This text by curator Ruth Auerbach introduces Venezuelan artist and photographer Mauricio Lupini on the occasion of the 1995 exhibition Mauricio Lupini V-6.811.042, held at the Sala Mendoza in Caracas. Auerbach reflects on two specific points: the acceptance of an array of expressive media that question the centrality of photography as a category in contemporary art; and the marked interest on the part of a number of artists in themes such as the body and its identity, both of which in these times, are tied to cybernetic time and space. Auerbach’s analysis of Lupini’s photographs is based on that second point. She asserts that all of the works on exhibition address the body and its identity at the ambiguous juncture between reality and fiction.
In her analytical criticism of the 1995 exhibition Mauricio Lupini V-6.811.042, held at the Sala Mendoza in Caracas, Venezuelan curator Ruth Auerbach examines the specific formal and conceptual concerns addressed by artist and photographer Mauricio Lupini (b. 1963). It is on the basis of those concerns that she reflects on the issues the artist formulates in the context of Venezuelan art. Almost fifteen years after it was written, the critical development presented by Auerbach is still relevant. Indeed, Auerbach’s reflection can be applied to other artistic categories that similarly question the centrality not only of photography, but of other contemporary expressive media.