This review of the exhibition by the Venezuelan artist Alirio Palacios (b. 1944), following his experience with the printmaking tradition in China, is valuable as source contemporary to the events. It allows us a closer perspective on the exhibition and its impact on the national art media. This may be one of the documents closest to the time when Palacios returned from his study trips (Rome in 1961 and Beijing 1962 to 1964). While it is true that the artist returned to Venezuela in 1965, the prints he rendered in China, under Chinese techniques and procedures, took some time to reach Venezuela. That was why the exhibition was held three years after his return. Another contemporary article was written by Julie Kruger (“There’s another China,” in The Daily Journal, Caracas, July 2, 1967). Unlike this text, the Kruger article provides more specific information, such as the artist’s own description of learning woodcut technique at the Fine Arts Academy of Beijing. The writer of the article in this file provides substantial information about the Chinese culture and an overview of printmaking as a thousand-year-old tradition in China.
[As supplementary reading, see the essay by Igor Molina “Alirio Palacios: El arte de la violencia,” which highlights the artist’s training in printmaking both in Poland and China in ICAA digital archive (1155701); Lenelina Delgado’s article “Alirio Palacios: El estado tiene la responsabilidad del futuro del Centro de Diseño” (1155596); a text by Olga González “Regresa a su país uno de los grabadores más importantes de América Latina” (1155203); Yasmín Monsalve’s review “Soy un gran aliado de mi país: Alirio Palacios expone xilografías en la Freites” (1155733); the review “La obra de Alirio Palacios Ilegó a Nuevo México: bajo el título de ‘Formas y espíritu’ expone 30 xilografías” (unsigned) (1155170); in addition to Edith Guzmán’s interview “Alirio Palacios se propone rescatar el grabado milenario de China” (1155809)].