Documents of 20th-century Latin American and Latino Art Home


Document first page thumbnail
  • ICAA Record ID
    [En 1995 Daina López comenzó un proyecto...] / Jesús Fuenmayor
    Esto no es un martillo = This is not a hammer. -- Caracas, Venezuela : Sala Mendoza, 1997
    p. 5- 15 : ill.
    Book/pamphlet article – Essays
    Fuenmayor, Jesús. "[En 1995 Diana López comenzó un proyecto...]." In Esto no es un martillo= This is not a hammer, 5- 15. Exh. cat., Caracas, Venezuela: Sala Mendoza, 1997.
Editorial Categories [?]

Analyzing the work of Venezuelan artist Diana López, critic Jesús Fuenmayor highlights the most salient features of her work from the beginning of the 1990s (when she began her artistic career) up to the moment that the exhibition he is reviewing takes place: Esto no es un martillo [This Is Not a Hammer] (Caracas: Sala Mendoza, 1997). In her work, Fuenmayor emphasizes the use of conceptual strategies such as working in collaboration and establishing how these relationships between “el artista” [the artist] and “el otro” [the other] act within the creative process. At the same time, the critic identifies this as “un espacio para la interlocución” [a space for dialogue], which in his judgment, a recognizable influence on great artists of the twentieth century.


In this text that accompanied the Diana López (b. 1968) exhibition Esto no es un martillo, critic and curator Jesús Fuenmayor notes the features that characterize her work, revealing it to be exceedingly complex. He comments on the photographic exhibition and from a curatorial perspective proposes the system López uses to determine the role that each participant plays in the series exhibited. In this way, Fuenmayor shows the connections between the artist, the operator of the camera, the object photographed, and the viewer. The curator reveals the strategic use of conceptual tools linked to communication within art, such as the origin of the idea, “instrucción artística” [artistic instruction] and the subsequent education of the individuals that contribute to the creative process/reception. The curatorial analysis offers sufficient information to deeply understand López’s work through the review of those works and her interests. It also reveals certain similarities in approach to those of great twentieth-century artists, such as German artist Joseph Beuys (1921–1986) who posed the possibility that everyone is an artist “todos artistas”]; in this way the artist suggests the concept that each work is essential and participatory.


There is another text by this author on the same artist in the ICAA digital archive; in this case in relation to [López’s] participation in the annual exhibition of PS1 Institute of Contemporary Art in New York [see “Diana López en PS1” (doc. no. 1163934)].

Gabriela Quero
Fundación Mercantil, Caracas, Venezuela
Jesús Fuenmayor, 1997
CINAP. Centro de Informacion Nacional de Artes Plásticas. Galería de Arte Nacional, Plaza Los Museos, Los Caobos, Caracas.