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  • ICAA Record ID
    Ateneo de Caracas
    Confrontación 68 : Álvarez, Mérida, Morera, Nedo, Régulo
    Caracas, Venezuela : Ateno de caracas, Galeria los espacios calidos, 1968
    45 p.
    Book/Pamphlet – Catalogs
    Ateneo de Caracas. Confrontación 68 : Álvarez, Mérida, Morera, Nedo, Régulo. Caracas, Venezuela: Ateno de caracas, Galeria los espacios calidos, 1968

This catalogue includes the writings of five Venezuelan researchers and critics who studied the works of the exhibiting artists at Confrontación 68 (Ateneo de Caracas, 1968). Juan Calzadilla introduces the architect Domingo Álvarez, and mentions the experimental nature of his work. Roberto Guevara reviews Manuel Mérida’s painting career, and describes the three-dimensional aspect of his latest work. Miguel Arroyo discusses the literary component in Morera’s work, and his way of blending the languages of Kinetic art and figuration into a single visual expression. Clara Diament Sujo associates the work of the artist and graphic designer Nedo (Mion Ferrario) with other branches of universal knowledge: philosophy, music, architecture, and art history. Finally, the promoter and collector Inocente Palacios scans the history of painting from medieval times to our contemporary period, discussing the art milieu in which Régulo Pérez works.


The first Confrontación project was conceived at the Ateneo de Caracas in 1967. At that time, the organizers dreamed of an annual presentation of “a representative sample of the work of a limited number of sculptors and painters, far removed from the world of competitions and prizes,” as the Venezuelan critic Roberto Guevara put it in his introduction to the event. A year later, new criteria were added to the process (applied in Venezuela for the first time), whereby every participant must be selected by a critic or specialist, who would justify their choice in an essay to be published in the relevant catalogue. In addition to a comprehensive description of Confrontación, the catalogue contains the first critical documents written about the event by the researchers who played a dominant role in national critical circles at the time. The doors to Confrontación 68 were thrown wide open to other artistic languages, which brought many different kinds of visual art together in one space. The documents collected here review the work and career of each participant; they also take into account the context of the period in which, given the sociopolitical circumstances of late 1960s, visual artists felt the need to experiment and keep up to date.


It should be noted that in those days, the term “curator” was not as widely used as it is now. The Confrontación project continued sporadically after 1967; the last one took place in 2000.

Maria Virginia Pineda Aranda
Fundación Mercantil, Caracas, Venezuela
CINAP. Centro de Informacion Nacional de Artes Plásticas. Galería de Arte Nacional, Plaza Los Museos, Los Caobos, Caracas.