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 critic Roberto Guevara suggests that the contrast in the Czech-born Venezuelan artist Marietta Berman’s two- and three-dimensional pieces appropriates space in her highly personal work. Guevara notes that the two-dimensional pieces in the exhibition Imágenes de luz (Caracas: Museo de Bellas Artes, 1986) do not create a virtual space; instead, they show a real one, thanks to the effect created by the light projected from behind the canvas. He also discusses other elements in Berman’s work, such as the scratches on the canvas, the paint itself, and the superimposed planes.
In this article, the critic Roberto Guevara (1933–98) discusses the two-dimensional works produced by the artist Marietta Berman (1917–90) and exhibited at the Museo de Bellas Artes de Caracas in 1986. Guevara provides a broad overview of Berman’s work, beginning with a few comments about the history of art and its traditional techniques. Drawing on its poetic discourse, Guevara helps the reader to empathize with Berman’s artistic language. He discreetly mentions the essential artistic components in her work, allowing readers to reinterpret them in their own terms. One of the article’s main contributions is that it associates the development of the critic’s discourse with the artist’s discourse, so that the article can be read as one might read the work itself. Guevara ponders questions that any viewer might ask, wondering for example about the three-dimensional possibilities of an object that, on a material level, has only two dimensions, or about the projection of light from beyond the support. Guevara underscores the importance of the artist’s constant experimentation and the greater value of her 1986 pieces as she “seeks to launch us into a universe in a permanent state of gestation that reflects our infinite dissatisfaction.” Throughout her career, the Czech-born Venezuelan artist explored space (that is, cosmic space, religious or ritual space, and even magical and unreal space); here she experiments with planes that are almost intangible thanks to the work’s special lighting and movement. These were experimental works produced in the 1980s and exhibited for the first time in 1985 at the III Bienal de Artes Visuales (Museo de Barquisimeto, estado Lara).