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.
This article by the critic Víctor Guédez was written at the time of Carlos Cruz-Diez en la arquitectura, the exhibition at the Centro Cultural Consolidado (Caracas, 1991). In Guédez’s opinion, there are two facets to Cruz-Diez’s Kine-chromatic work; one is artistic, the other is aesthetic. The critic analyzes the contributions made by Cruz-Diez and by Kinetic art as the avant-garde vis-á-vis the ideas of the Impressionists, Cubists, and other twentieth century avant-garde movements. After expressing his theory about the two facets, Guédez discusses color and other things, such as the terminology used to define Cruz-Diez’s trade, as an artist or in terms of the visual arts. The article includes some of the artist’s thoughts, quoted from the exhibition catalogue.
This article by the Venezuelan art critic Víctor Guédez is unusual because—despite the fact that it was written during the Carlos Cruz-Diez en la arquitectura exhibition at the Centro Cultural Consolidado (Caracas, 1991)—it is not actually a review of that event. On the contrary, Guédez decontextualizes his text and delves deeply and rigorously into philosophical and aesthetic ideas; in other words, into aspects of Cruz-Diez’s work that are not often analyzed. Aside from Cruz-Diez’s experiments with color (the aspect of his work that has attracted greatest attention from the critics), his philosophical training allows him to explore questions such as the definition and naming of his “aesthetic products” in terms of their support and physical structure. Guédez refers to CCD’s nomenclature and classification of his works, which were not conceived as sculptures in the sense of “volume or relationships between empty and full [spaces].” This document is relevant in conceptual terms and contributes original ideas that reveal a great deal about the artist; it suggests how to approach the reading of a work of art from aesthetic perspectives, and provides a descriptive review of CCD’s various periods and series.
To read other articles about the work of Cruz-Diez, see the essay by Jean Clay “(Untitled) [Pronto hará ocho años que Carlos Cruz-Diez...] = [Voici bientôt huit ans que Carlos Cruz-Diez…]” [doc. no. 858602]; and Plinio Apuleyo Mendoza’s interview “Entrevista a Cruz Diez [No imitamos, nos imitan]” [doc. no. 862938].