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.
Researcher Ana de Azcárate analyzes the art of Sandra Vivas from her early production through 2004. De Azcárate points out constants in Vivas’s work, such as feminism and machismo, the use of her own body in performances and in videos, and the use of irony to address common gender roles in society as a whole and in Venezuela specifically. Sexuality, desire, and women’s role in art and society are the main concerns of Vivas’s unique body of work.
In this text, art researcher Ana de Azcárate discusses the work of Venezuelan artist Sandra Vivas (b. 1969) on the occasion of the exhibition Casi todo held at Galería Alternativa in Caracas in 2004.
De Azcárate’s discussion is thorough yet concise. She provides an overview of Vivas’s work from the last decade, the period during which the artist became widely known on the Venezuelan contemporary art scene. De Azcárate mentions Vivas’s most important works in video, painting, and performance and the conceptual line they draw in her work. The development related to “the sexual” and “the feminine,” as well as to woman’s role in contemporary society, are the cornerstones of Vivas’s art, in de Azcárate’s view. She also points out how Vivas focuses on the terrain of intimacy and of private life by means of bodily expression—a focus that reflects the artist’s life experience, in the author's view.
De Azcárate’s analysis is important because it emphasizes the poetic valorization of “the feminine” in Vivas’s work, which serves to demystify what could be labeled as the “feminist” nature of her art.