The Chilean-born Venezuelan researcher Carmen Hernández (b. 1963) reviews Proyecto crónicas, 1997, the work by Mailén García (b. 1964) that was included in the international group exhibition Desde el cuerpo: alegorías de lo femenino, curated by Hernández. The theme of the exhibition—that was presented at the MBA (Museo de Bellas Artes) de Caracas from January to March 1998—was the work of Latin American women visual artists on the subject of gender. No catalogue was produced for the event, and it wasn’t until 2007, nearly ten years later, that a book was published that included this essay as one of its chapters.
García had long been a sculptor, and had produced large three-dimensional pieces for architectural environments. In the early 1990s, she became interested in new technologies, which she used in her work, as in the case of Proyecto crónicas (1997). She did not, however, completely lose interest in the use of space, and Proyecto crónicas is installed in an area called a “shelter”—a sort of tent—in which García uses a computer to project images, allowing the public to be involved in the process.
In this essay, the curator reviews the artist’s critical discursive approach, and reports on the nature and scope of what García describes as the “subaltern” discourses which can be found in contemporary culture and society.
To read another essay by Hernández about this exhibition, see “Antonieta Sosa: la medida de lo personal” [doc. no. 1155378].
