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.
The critic Juan Calzadilla introduces the architect Domingo Álvarez in the catalogue for the exhibition Salón Confrontación 68, based on the architect’s participation in that event, held in the spaces of the Ateneo de Caracas. After recounting his experience prior to writing the text as a member of the salon’s selection jury—personally assigned to invite one artist—Calzadilla comments on his view of Álvarez’s work. The writer analyzes the installation La Calle, a kind of stage set open to the viewer, inviting participation in the event. He goes on to marshal the reasons why he selected this approach; for the most part, he based his decision on Álvarez’s intention to question the scale on which the event was organized (24th Salón Oficial Anual de Arte. Museo de Bellas Artes in Caracas, 1968). The critic offers his conclusions on the expressive medium used by the artist.
Environmental projects by the Venezuelan artist Domingo Álvarez (b. 1935) represent one of the pioneering approaches in Venezuela that invite the viewer into the work. (Other examples are the series Penetrables by Jesús Soto (1923–2005) and the Cámara de Cromosaturación by Carlos Cruz Diez (b. 1923).) Perhaps that innovative spirit was promoted by the ideological and political commitment of the artists faced with the social circumstances in Venezuela at the time. In any event, these works were a new approach of the visual arts to three-dimensionality, wisely supported by most of the cultural centers. This fact emerges clearly in the testimony provided by the critic Juan Calzadilla (b. 1931) in this document. When he describes his experience as a juror for Salón Confrontación 68 (Ateneo de Caracas, 1968), he not only encourages study of the artist selected, but also gives us a look at the context. Thus, the writer points out the importance of the new architectural languages that result from the critical thinking of those artists who work in the daily routine where life actually takes place.