Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    1172394
    AUTHOR
    Astorga, Juan
    TITLE
    Meditación sobre el misterio del arte en la era de la furia técnica / Juan Astorga
    IN
    58 Salón Arturo Michelena : octubre 2000-enero 2001. -- Caracas, Venezuela : Ateneo de Valencia, 2000
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Astorga, Juan. "Meditación sobre el misterio del arte en la era de la furia técnica." 58 Salón Arturo Michelena: octubre 2000-enero 2001. Caracas, Venezuela: Ateneo de Valencia, 2000.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

In this text on the 58º Salón Michelena (Valencia, state of Carabobo) written in the year 2000, art critic Juan Astorga discusses the relationship between art and technique to reflect on the definition and meaning of “art.” Astorga defines art history as a positivist science that groups together and catalogues different art objects according to technique and style. But, he argues that art history is also a science that addresses a phenomenon that responds to life’s enigmas. In his discussion of these questions, Astorga makes reference to the advent of artificial intelligence and its use in artistic representation. He also discusses how the works included in the 58º Salón Michelena were classified, mainly on the basis of materiality, technical congruence, theme, and vision of the world presented to the viewer.

Annotations

This text by Venezuelan critic and curator Juan Astorga introduces and discusses some notions important to art theory. Astorga establishes relationships between positivist disciplines and the metaphysical. He deems “art” scientific insofar as it makes use of certain tools that enable classification on the basis of styles. In discussing that problem, Astorga invites the reader to reflect on questions that man has addressed with the help of other disciplines that are akin to science, disciplines like sociology, psychology, and semiotics. In examining these questions, Astorga provides tools useful to considering art today as a whole and contemporary art from Venezuela in particular.

Researcher
Monica Quintini
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Juan Astorga, 2000
Location
Biblioteca Lis Molina Pantin, Caracas