The critic Carlos Silva discusses his ideas about the contemporary artist’s responsibilities, citing the Venezuelan painter Oswaldo Vigas as an example. Referring to Nietzsche’s idea that, in art, “form and content” are one and the same, Silva states that any sign emitted by an artist implies an idea and, therefore, a commitment. Based on these thoughts, Silva calls Vigas a responsible artist because he has created an artistic language that is firmly rooted in certain specific principles and ideas. In Silva’s opinion, Vigas’ imagination helps to strengthen Latin American identity, and his continental references are more suggestive of a “future” than a “nostalgic homecoming.”

Recalling that the German philosopher Friedrich Nietzsche said that, in art, “content is form,” the Venezuelan critic Carlos Silva describes the art career of Oswaldo Vigas (1926?2014) as “lucid” and “responsible.” Silva adds to other opinions about this Venezuelan painter’s work by introducing a theoretical component (seen from a philosophical perspective) that explains the role of the contemporary artist over and above the universe of his formal solutions. The contemporary artist’s lack of identification when faced with surrounding realities is here confirmed in an equation that makes no distinction between concept and form. Silva also applauds Vigas’ particular social responsibility and his involvement in the strengthening of a Latin American culture that claims to be the key to the future. This essay was published in connection with Oswaldo Vigas: Ritos Elementales, Dioses Oscuros, the retrospective exhibition organized by the Galería de Arte Nacional (Caracas, 1979), that acknowledged Vigas’ position in Venezuelan visual art circles. Though aware of certain questions concerning the appropriateness of devoting a retrospective exhibition to this painter, Silva’s essay clearly endorses the artist and his ideas.

Regarding Vigas’ work, see the article by Juan Liscano “La reiteración de Vigas” [doc. no. 1152769]; by Roberto Montero Castro both “Vigas en el ojo ajeno - Plástica e identidad latinoamericana” [doc. no. 1153266], and “Oswaldo Vigas: la lucha por descubrir la identidad americana” [doc. no. 1168108]; the article by Joaquín Gabaldón “La monstruosidad en el arte” [doc. no. 850831]; the article by Lenelina Delgado “De la pintura al tapiz” [doc. no. 1153365]; A. Feltra’s article “Vigas sufre de afán publicitario” [doc. no. 1155580]; and Paco Benmaman’s interview “Oswaldo Vigas explosivo: antes las brujas, ahora las bombas” [doc. no. 1153245].

In addition, Vigas noted his thoughts on young Venezuelan artists in “La sinrazón de mis brujas” [doc. no. 1153349], and “Lo que se tiene no se busca” [doc. no. 1152785], and also in M. C.’s interview with Vigas, “Detesto la palabra búsqueda: Oswaldo Vigas” [doc. no. 1152801].