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 Venezuelan artist Asdrúbal Colmenárez wrote about his own installation, Preludio 7, fuga siete, on exhibition at the Galería de Arte Nacional (1991). He presents the objective of the installation, which is intended to raise viewer awareness of the process of perception without letting the iconography take over. The artist states that on the one hand, in terms of time, his approach is related to the “vulnerability of dreaming” while on the other, it is spatially related to the concept of “fractals.” To Colmenárez, this is his most ambitious project; it was conceived as a “collective creation.” Through the art/life/technology connection, the intention of this work is to take back the spaces lost to humanism. The text concludes with the writer’s thinking on the artist’s role in the twenty-first century.
The importance of this document by the Venezuelan artist Asdrúbal Colmenárez (b. 1936) is in its reference to an installation considered the culmination of various approaches initiated by the artist in Paris (1986), in works called Partituras. Similarly, Colmenárez’s thinking gives this text a value as testimony, providing some unique, primary-source information that contributes to a more specific reading of the artist’s work.
The installation Preludio 7, fuga siete (Caracas: Galería de Arte Nacional, 1991) was organized by GAN (Galería de Arte Nacional) along with the Museo de Arte Moderno Jesús Soto (Ciudad Bolívar). Moreover, the artist was sponsored by the company ALCASA, Aluminio del Caroní, S.A. Two years earlier, this company had provided the artist with space for executing his work, in one of its maintenance facilities.
[For a critical text by María Luz Cárdenas on Colmenárez’s work, see the ICAA digital archives “Transposiciones” (doc. no. 1163902)].