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 curatorial text by William Niño Araque analyzes the exhibition Max Pedemonte: Muros, templos y ciudadelas (Caracas: Fundación Galería de Arte Nacional, 1994), presenting the work of the sculptor Max Pedemonte. The text is based on an earlier essay written by Marta Traba, “La zona del silencio” (published in Mexico in 1976). Niño Araque places Pedemonte’s approach within a general concept introduced by Traba as a way of categorizing works rendered in Latin America during the 1960s that were more mythical than rational by nature. He goes on to examine the visual-arts precedents to this work, applying ideas from “La zona del silencio” to consider how the artist addresses the landscape theme in his installations. In conclusion, the writer discusses the reading of the signs and symbols of each approach represented in the exhibition, highlighting the importance of metaphor.
The reading offered by the curator and critic William Niño Araque of the exhibition Max Pedemonte: Muros, templos y ciudadelas is based on an important critical essay written in the mid-1970s by Marta Traba (1923–83): “La zona del silencio.” Traba’s essay was dedicated to the work of three Mexican artists: Ricardo Martínez (1918?2009), Günther Gerzso (1915–2000), and Luis García Guerrero (1921–96). The Venezuelan critic applies the essential meaning of this essay to the approach of Max Pedemonte (b. 1936), the Venezuelan sculptor and architect born in Cuba. The curator thus shows the critical opening provided by Traba’s text, to be used in the interpretation of the work of other Latin American artists. Similarly, he points out the value of Traba’s statements about the comprehension of the visual arts, which cannot be transmitted through a mere description of the work. Instead, Traba makes it clear that the critic’s role includes being a guide and educator of the viewing public. Moreover, this document provides an extensive analysis of the show itself, contributing data important to an understanding of this specific period in Pedemonte’s life as an artist.