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  • ICAA Record ID
    1171815
    TITLE
    Proyecto de explicación a título autoexplicativo / Juan Calzadilla
    IN
    Confrontación 68 : Alvarez, Mérida, Morera, Nedo y Régulo. -- Caracas : Ateneo de Caracas, 1968
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Calzadilla, Juan. "Proyecto de explicación a título autoexplicativo." In Confrontación 68: Alvarez, Mérida, Morera, Nedo y Régulo. Caracas : Ateneo de Caracas, 1968.
    TOPIC DESCRIPTORS
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

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.

Annotations

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.

Researcher
Maria Virginia Pineda Aranda
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Reproduced with permission of Juan Calzadilla, Caracas, Venezuela
Location
CINAP. Centro de Informacion Nacional de Artes Plásticas. Galería de Arte Nacional, Plaza Los Museos, Los Caobos, Caracas.