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.
Venezuelan critic Roberto Guevara comments on the underlying concept of the Venezuelan representation at the XII São Paulo Biennial in 1973; it consisted of a collective work by Margot Römer, Ana María Mazzei, William Stone, Rolando Dorrego, and Germán Socorro. In the text, Guevara analyzes the principles of visual and tactile perception that underlie Piel a piel [Skin to Skin], while also briefly describing each of the six environments that comprise the [work]. Each of these presents a different stimulus [soft, bright, hot, rough, etc.) that generates a particular sensation in the viewer and that creates an awareness of their own processes of perception.
In 1973, Venezuela participated in the XII São Paulo Biennial with a collective work by Margot Römer (b. 1938), Ana María Mazzei (b. 1946), María Zabala (1945–1987), William Stone (1945–2004), Rolando Dorrego (1943–1986), and Germán Socorro. The approach in Piel a piel consisted of six environments—five lateral and one in the center— that explored different sensations on the skin produced by various stimuli. This text that presents the Venezuelan entry is by critic Roberto Guevara, who sees the work as a new way to explore connections to reality through the body. Likewise, the author’s descriptions constitute a fortuitous “reconstruction” of the ephemeral space that was meant to generate experiences. It is important to note the prominence of this collective at the beginning of the 1970s within the unconventional art scene in Venezuela, producing such works as El autobús [The Bus] (1971) and Las sensaciones perdidas del hombre [Lost Sensations of Man] (1972). These experimental works coincided with the rise of action art and Venezuelan artists’s search for new methods. The inclusion of Piel a piel in the XII São Paulo Biennial signified a place for alternative spaces and discourses within official art.