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.
In this article Alexander Mosquera discusses the participation of Venezuelan artist Henry Bermúdez—along with other recognized artists in the country such as Ángel Peña and Carmelo Nino— in the forty-second Venice Biennale (1986). The Venezuelan journalist emphasizes that Bermúdez’s work was well received by critics who attended the event, and they mention that Venezuela was present in the competition for the first time with a show that was truly Latin American. In other words, it was possible to perceive the great creative process of the artists, which was inspired by their everyday surroundings. The article also mentions the significant Mexican influence present in the work of Henry Bermúdez.
This is an article by Venezuelan journalist Alexander Mosquera on the participation of Henry Bermúdez (b. 1951) in the forty-second Venice Biennale (1986). [The event] transformed critical opinion of the art of Bermúdez, [and the author] underscores that not only was his work well liked, it also generated great interest due to the cultural mix present in his work, as well as for the incredible anthropomorphic figures represented in his painting. Critics characterized Bermúdez’s work as “very Latin American” and replete with magical realism. Various European galleries offered him the opportunity to exhibit due to his participation in the Italian biennial exhibition. Thereafter, the artist exhibited at the Centro de Arte Euroamericano in Caracas.
The article is of interest because it discusses the influence that Mexican culture had on Bermúdez’s work, establishing that the Aztec and Toltec cultures had an impact on the evolution of his work; he had left behind the first phase [of his work], which was characterized by geometric outlines wherein the chiaroscuro of black and white played a main role. The author mentions that when Bermúdez passed from Indian ink (for which he used a nib pen) to oil (in warm tones) a great evolution in his creative work occurred. The artist’s interest in ancient cultures was emerging in his work; enriching it, filling it with attractive landscapes that showed gods inspired by ancient cultures.
Mosquera also states that [the artist’s] work is characterized by the creation of new worlds arising from his imagination; within them exist plumed serpents, hybrid women, forests and birds that constitute a mythical universe that unveil magical and sensual elements in his painting. The author states that Bermúdez always maintains the presence of his place of origin, Maracaibo: a magical city that serves as a fountain of inspiration.