Artnexus Artnexus

Víctor Guédez

Encounter of AICA Art Critics 2017
Rafael Pineda Traveling Chair. Venezuelan Art


Caracas, Venezuela
Susana Benko

On the occasion of the exhibition titled "Past and Future in the Present," curated by Bélgica Rodríguez, the Encounter of AICA Art Critics 2017 took place last November at the Centro Cultural BOD to pay tribute to art critic and art historian Francisco Da Antonio.

The first intervention was a talk by researcher and curator María Luz Cárdenas titled "An Open Relationship Model in Venezuelan Contemporary Art." With it, Cárdenas demonstrated how contemporary art tendencies do not follow a linear story based on chronologies, styles, movements or techniques. Through images, she showed the complex webs of relationships produced by works from different periods and the manner in which similar references are revealed.

On the other hand, Roldán Esteva-Grillet presented "The Museum of Sofía." Through an inquisitive and critical talk, Esteva-Grillet performed a historical analysis of modern Venezuelan museology.  He pointed to how Sofía Imber was able to found the Museo de Arte Contemporáneo de Caracas—the MACCSI, as it was known before when it included Imber's initials—thanks to high oil prices during the 1970s. He underscored the excellence of her tenure when it came to the quality of the exhibitions, catalogs, and related activities that she spearheaded.

Carlos Maldonado-Bourgoin centered his talk on the painting Miranda en La Carraca (Miranda in La Carraca) by artist Arturo Michelena. Through the revision of several historical documents, Maldonado-Bourgoin's analysis of this emblematic work of nineteenth century Venezuelan painting presented findings that question the legitimacy of some of the arguments previously used in the study of this great work of art. Consequently, the talk was titled, "Miranda en La Carraca by Arturo Michelena. New Contributions to its Lecture and Interpretation."

Bélgica Rodríguez presented a talk titled "A Systemic Approach to Contemporary Sculpture in Venezuela." In it, Rodríguez formulated the formalist codes of contemporary sculpture, as she also analyzed the situation in Venezuela during periods of prosperity and development as one of the possible causes that led to aesthetic changes during the mid-20th century in the three-dimensional field.

"Art and Time in the Context of Some Venezuelan Painters" was the theme discussed by Víctor Guédez. In his presentation, Guédez pointed out that this topic can be approached through multiple perspectives and, using several examples, he demonstrated the way in which artists have developed their individual visions on the subject. It should be noted that Guédez was a conceptual advisor in the exhibition titled "Past and Future in the Present" under this same theme.

Lorena González presented "Criticism in Times of Crisis." As point of departure she questioned how to define art criticism in a contemporaneity also subjected to a critical context.  According to González, this implies a debate "between the variables that touch contemporaneity and the general line of a qualitative observation in which any group of pieces […] pursues a specific end: to project towards viewers and through the work the sensitive and material possibilities of the struggles, desires, and preoccupations of an artist or group of artists." 




Find here all the information on ArtNexus news.
  Exact Search