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  • ICAA Record ID
    865589
    TITLE
    Siete eventos para una nueva lógica del arte venezolano / Juan Calzadilla
    IN
    Acciones frente a la plaza. -- Caracas, Venezuela : Fondo Editorial Fundarte - Alcaldía de Caracas, 1995
    DESCRIPTION
    p. 23-45, ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Calzadilla, Juan. "Siete eventos para una nueva lógica del arte venezolano" In Acciones frente a la plaza, 23-45. Caracas, Venezuela : Fondo Editorial Fundarte - Alcaldía de Caracas, 1995.
    TOPIC DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

In his essay “Siete eventos para una lógica del arte venezolano,” the critic Juan Calzadilla describes the 1981 event Acciones frente a la Plaza, which involved non-objective works of art produced by seven artists in different parts of the city of Caracas. Calzadilla discusses each artist’s work, the historical background of the language of action art at both a local and an international level, and the connections he sees between the various performances and the production ritual.

Annotations

The essay “Siete eventos para una lógica del arte venezolano,” written by Juan Calzadilla (b. 1931), the Venezuelan art critic and draftsman, was published in the book Acciones frente a la Plaza. Reseñas y documentos de siete eventos para una nueva lógica del arte venezolano (Caracas: Fundarte, 1995), an editorial project that was coordinated by María Elena Ramos. Calzadilla was a pioneer in the analysis of the use of the body in the creative process as a result of his studies of paintings by Armando Reverón and Alberto Brandt. In this essay, the researcher describes the features that define “action art” as part of the discourse of a visual language by pointing out the differences between the traditional artist and the “physical plasticity” of the non-objective artist. In fact, so-called “non-objective experiences” enjoyed their greatest acclaim in Venezuela as a result of the Acciones frente a la Plaza event in 1981; therefore the interest generated by this essay because in it Calzadilla analyzes each of the performances presented during the event, and discusses the essence of an artistic genre that was barely performed in Venezuela in the 1970s. 

Researcher
Sagrario Berti
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Reproduced with permission of Juan Calzadilla, Caracas, Venezuela
Location
Biblioteca Museo de Bellas Artes de Caracas, Plaza de Los Museos, Parque los Caobos, Caracas 1010, República Bolivariana de Venezuela