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.
Journalist Margarita D’Amico dedicates this text to a new art form: video. The author shows the versatility of this new medium as well as its ability to capture the diverse areas of human activity. The aspects she highlights include the possibility of the viewer’s participation in the creation and reception of works. D’Amico also recounts the technological predecessors and the subsequent advances that permitted the rise of portable video and the direct manipulation of images [doctoring] through electronic methods. Finally she evaluates the potential of the technology within the aesthetic sphere, as well as its interaction with other discursive mechanisms, such as television or art action.
In 1975, the Museo de Arte Contemporáneo of Caracas organized the exhibition Arte de video [Video Art], the first exhibition of video art in Venezuela, which brought together international individual and collective artists, representative of this new genre: Stephen Beck, Nam June Paik, Charlotte Moorman, Bill Etra, Juan Downey, and Allan Kaprow, among many others. Margarita D’Amico, author of the introductory text for the catalogue, represented Venezuela, and along with José Ignacio Cadavieso organized the show, which was originally curated by Gerd Stern and Douglas Davis. The text, as well as the exhibition, is a declaration of this new artistic terrain. Nearly using the tone of a manifesto, D’Amico declares that electronic art fuses art and life through its broad potential for dissemination and manipulation. In the same manner, the text specifies that these new experiences are bound to creative and receptive processes: wherein an action becomes a work, displacing traditional categories such as “obra original” [original work] as well as “documentación visual” [visual documentation]. Another relevant aspect is the review of the technical precursors of video art; this allows for an appreciation of the rapid progression between a technological advance and its application as an aesthetic experience. This show in Caracas was, without doubt, a milestone in what would come to be known as the precursors of video art, video-sculpture, and digital art within the country; their first advocates would begin championing them immediately after [the exhibition].