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.
Researcher María Elena Ramos includes two interviews in her “Presentación” of the book Acciones frente a la Plaza. Reseñas y documentos de siete eventos para una nueva lógica del arte venezolanos, the first with historian Bélgica Rodríguez and the second with artist Pedro Terán. Ramos explains the origin and importance of the seven art actions that took place around Plaza Bolívar in Caracas in 1981. Ramos not only describes each of the performances and the structure of her text, but also reflects on the “communicational” nature of experiences that took place outside the museum context and explores some of the characteristics of “non-object” art.
Published by the Fundación para las Artes, the book Acciones frente a la Plaza. Reseñas documentos de siete eventos para una nueva lógica del arte venezolano (Caracas: FUNDARTE, 1995) addresses “Acciones frente a la Plaza,” an event that took place in 1981 at a number of locations: Plaza Bolívar in Caracas and the neighboring exhibition gallery of the Gobernación del Distrito Federal; Parque Los Caobos; and the Museo de Bellas Artes. The event, which revolved around non-object art, was sponsored by FUNDARTE’s Dirección de Artes Plásticas and coordinated by Marco Antonio Ettedgui. The participating works were Persona a persona [Person to Person] and Pre-evento [Pre-Event] by Alfred Wenemoser; Acción divisoria del espacio [Action Divisive of Space] by Yeni and Nan; Ceremonia con Armas Blancas [Ceremony with Cold Weapons] by Carlos Zerpa; Nubes para Colombia [Clouds for Colombia] by Pedro Terán; Hospitalización por Cálculo Renal [Hospitalization for Kidney Stones] by Ettedgui himself; ¿Y por qué no? [Why Not?] by Antonieta Sosa; Poema de Acción. Protesta [Poem of Action. Protest] by Diego Barboza; and Una limosna para el Arte [Alms for Art] by Theowals D'Arago, a work not planned in the initial programming.
In her introduction, Ramos provides an overview of non-object art in Venezuela on the basis of the event “Acciones frente a la Plaza.” The actions in the event formulated new ideas about art and made use of new media, thus contributing to the emergence of new artists at the heart of the “art” discourse in Venezuela. As the editor of the book, Ramos employed theoretical criteria to organize the documentary material, including each artist’s proposal that the book contains. She also provides a theoretical reflection on Juan Calzadilla’s language of action. The book includes interviews by Ramos with fourteen Venezuelan artists and critics in which they discuss the importance of “communication” to non-object art experiences; it features the lecture “La Comunicación en las artes nuevas” that Ramos presented in Medellín Colombia at the Primer Coloquio de Arte No-Objetual.