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.
Ruth Auerbach introduces Landescape, the exhibition of works by Dulce Gómez at her first solo show, at the Galería Alternativa in Caracas in 1994. In her poetic essay, Auerbach describes the salient features of this Venezuelan artist’s paintings. Among other things, she mentions the transparency that Gómez achieves with her use of watercolors, the empty space, and the different atmospheres that can be visualized in these landscapes which, in Auerbach’s opinion, are an expression of the artist’s “inner landscape.”
The critic and curator Ruth Auerbach reviews the work of Dulce Gómez (b. 1967) from a perceptual perspective, describing the feelings that the paintings expose with great subjectivity and expressiveness. This leads the critic to see “ambiguous codes” (presence and absence) and ethereal elements (lightness, suspension, and emptiness) in these works. In keeping with the artist’s technique and her use of an intimate symbology, Auerbach seizes on these elements as the basis for her review.
The title, Landescape, refers to the exploration of landscape painting, and Auerbach mentions several technical and formal aspects of this important genre in art history. Most of all, however, she stresses the use of painting as medium that reveals the interpretative processes associated with conceptual art.