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.
Juan Calzadilla’s essay “Las apariciones de Salvador Valero” was one of stories, declarations, poems, and critical writings compiled by Carlos Contramaestre in the book Salvador Valero published by the Museo de Arte Salvador Valero in 1981. Calzadilla interprets Valero’s relationship to painting which, he asserts, was complex due to concerns innate to the artist’s critical, testimonial, and poetic facets, all of which are tied to a deep need to convey messages. Valero’s purpose is to increase awareness of the social realities characteristic of the Venezuelan cultural context during his era. Calzadilla states that Valero understands his work as a means to define and to consolidate his multiple connections to the world.
When it was written, this text by Juan Calzadilla (b. 1931) represented one of the most thorough, sharp, and insightful analyses of the aesthetic concerns underlying Salvador Valero’s production. From early on, Calzadilla was one of the Venezuelan critics to problematize “naive art,” which he deemed ingenuous and popular, and to formulate the need to define it in terms of the greater Latin American and specifically Venezuelan context. Thanks to that approach, he was able to identify substantial differences from the Europe-oriented vision of naive art that prevailed in the country. Pursuant to this conception, Calzadilla sees Valero’s work as the bearer of an aesthetic that goes beyond the themes of traditional and popular art from Venezuela even though embedded in their context.