Creator: Pérez Oramas, Luis, 1960-×
  • Alí González, artista "caribe"
    Pérez Oramas, Luis, 1960-
    Luis Pérez-Oramas wrote this curatorial text on the exhibition Usted, el espacio by the Venezuelan artist Alí González exhibiting at the Galería D’Museo (Caracas, 2001). Opting to envision the work poetically, he approaches the work of Gonzá [...]
    ICAA Record ID: 1169550

  • Works and problems : A conversation about the Patricia Phelps de Cisneros Collection = Obras y Problemas : Una conversación entorno a la Colección Patricia Phelps de Cisneros
    Jiménez, Ariel; Pérez Oramas, Luis, 1960-
    The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]
    ICAA Record ID: 1167515

  • [Querido Luis, cada vez que vuelvo a las alturas de Rosalito...]
    Pérez Oramas, Luis, 1960-
    By way of an open letter, Luis Enrique Pérez-Oramas (b. 1960) introduces the exhibition Pinturas, work by Luis Lizardo, organized by the Centro de Arte Euroamericano (Caracas, 1996). The letter is a meditation (of a poetic nature) on the ideas and [...]
    ICAA Record ID: 1165134

  • El autocurrículum de Claudio Perna, escultura social y novela hiperrealista
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez-Oramas analyzes the work Autocurrículum by the Venezuelan conceptual artist Claudio Perna. Pérez-Oramas defines this work from several different angles: as a physical object, as a written work and as conceptual [...]
    ICAA Record ID: 1161917

  • Que los cuadros canten
    Pérez Oramas, Luis, 1960-
    The writer describes and analyzes the work of the Venezuelan visual artist shown in the exhibition that bears his name, Juan Iribarren (Sala Mendoza, Caracas, 1994). Based on his study of these paintings, Luis Enrique Pérez-Oramas formulates what he [...]
    ICAA Record ID: 1160315

  • Juan Iribarren, el grano rauco y el silencio
    Pérez Oramas, Luis, 1960-
    In the view of critic Luis [Enrique] Pérez-Oramas, the authentic practice of painting is an exception in Venezuela today. The painting tradition has not carried on or developed beyond a certain strain of Constructivist or kinetic abstraction. [...]
    ICAA Record ID: 1160298

  • Holanda
    Pérez Oramas, Luis, 1960-
    In the view of curator Luis Enrique Pérez-Oramas, Juan Araujo’s landscapes have the power to express all the significance that painting can. The works in the exhibition Holanda. Juan Araujo (Caracas: Galería D’Museo, 2002) constitute a free [...]
    ICAA Record ID: 1160202

  • Gego, retículas residuales y modernidad involuntaria : la sombra, los rastros y el sitio = Gego, residual reticulareas and involuntary modernism : shadow, traces, and site
    Pérez Oramas, Luis, 1960-
    Luis Enrique Pérez Oramas analyzes Gego’s work in light of what he considers her contribution to the history of visual art. The critic considers [the source of] that contribution to be the different artistic milieu in which her artistic life [...]
    ICAA Record ID: 1159784

  • Gego, la luz cernida dulcemente
    Pérez Oramas, Luis, 1960-
    Luis Enrique Pérez Oramas considers Gego the most important artist in Venezuelan modern art. In his opinion, her work broke through the conventional limits and was situated at the margin of the national art scene as “a work of critical importance [...]
    ICAA Record ID: 1159768

  • Gego : íntima y universal
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas describes Gego’s body of work. The curator identifies the artist’s early work in the category of geometric abstraction; however, as she developed, she moved toward an approach that was “organic and [...]
    ICAA Record ID: 1159752

  • Gego y la escena analítica del cinetismo
    Pérez Oramas, Luis, 1960-
    Luis Enrique Pérez Oramas believed that as a foreigner in Venezuela, Gego gave her work the function of an “analytical process” by constructing a “neutral space” in a time saturated by Kinetic art and geometric abstraction. Her work resists [...]
    ICAA Record ID: 1159736

  • La caverne moderne : histoires de pénétrables
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas analyzes a fragment of modern Latin American art history, presented through the form of “penetrable” works. The critic describes the development of the form with respect to its representation as [...]
    ICAA Record ID: 1159720

  • Gego : anudamientos
    Pérez Oramas, Luis, 1960-
    The Venezuelan curator and critic, Luis Enrique Pérez Oramas, speaking from a poetic perspective, highlights the relevance of “knots” (nodes) or “knottings” as singular elements in Gego’s visual discourse. The critic sees the knottings in [...]
    ICAA Record ID: 1159704

  • Abstraction, organism, apparatus : notes of the penetrable structure in the work of Lygia Clark, Gego, and Mira Schendel
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas discusses the typology of Latin American modern art that is designed “to be penetrated” by the viewer, based on an analysis of major works by three Latin American women artists: Brazilians Lygia Clark and [...]
    ICAA Record ID: 1159688

  • Antonieta Sosa: Antropometrías de la casa
    Pérez Oramas, Luis, 1960-
    In this essay about Cas(A)nto, the installation by Antonieta Sosa at the Museo de Bellas Artes, Caracas, Luis Enrique Pérez-Oramas describes the Venezuelan artist as the heir to the Latin American Abstract-Constructive tradition, and a member of the [...]
    ICAA Record ID: 1157705

  • La resistencia de las sombras : Alejandro Otero y Gego = The shadow's resistance : Alejandro Otero and Gego
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas finds that the work of Armando Reverón is the source of a “formalist tale,” defined as a theme of “traces and shadows.” It is a theme that Pérez Oramas pursues through the entire period when modern [...]
    ICAA Record ID: 1156379

  • Armando Reverón y el arte moderno
    Pérez Oramas, Luis, 1960-
    In his essay, “Reverón y el arte moderno,” Luis Pérez-Oramas suggests that Reverón found his own way to modernism in his painting as a result of the exhaustion of Figuration, independently of the most noted modern artists of the twentieth [...]
    ICAA Record ID: 1155426

  • m.f. 997: Lo casi visible
    Pérez Oramas, Luis, 1960-
    In this text, Luis Enrique Pérez-Oramas analyzes the installation 2i997 produced by Magdalena Fernández for a show of the same name. The critic affirms the solidity of the approach to the work insofar as it builds on the abstract-geometric [...]
    ICAA Record ID: 1155301

  • Gego : Laocoonte, las redes y la indecisión de las cosas
    Pérez Oramas, Luis, 1960-
    In this essay, Luis Enrique Pérez Oramas studies Gego’s work, Reticulárea (1969) as Venezuela’s first real incursion into contemporary art. The critic contrasts the premises maintained by Venezuelan Syntheticism (which claims to be the last [...]
    ICAA Record ID: 1152689

  • La invención de la continuidad
    Pérez Oramas, Luis, 1960-
    In this essay, published in the catalogue for the exhibition La invención de la continuidad (Caracas: Galería de Arte Nacional, 1997), the curator Luis Enrique Pérez-Oramas discusses questions associated with the development of twentieth-century [...]
    ICAA Record ID: 1101838

  • Cuadros en una exposición
    Pérez Oramas, Luis, 1960-
    The Venezuelan critic Luis Pérez-Oramas discusses the exhibition of Latin American artists on display at the Centre George Pompidou in Paris from November 1992 until January 1993. He questions the curators’ chronological perspective of Latin [...]
    ICAA Record ID: 815786