In this text, Ariel Jiménez builds a framework of evidence and circumstances that describe the universal sentiments of the 1990s. In his opinion, that decade can basically be characterized by the prevailing fear and uncertainty that were not just the result of the political and economic reality of any particular society. Instead, these sentiments arose from a set of threats (some more real than others) that weighed on humanity and on the planet on which we live. Following this analysis, the curator and critic addresses the artwork of each of the participants in the seventh round of the Premio Mendoza (1994). Fernandez believes that all these works question the role of art and the artist in society, highlighting the search for equilibrium in the artist’s own lives, in their relationship to the planet and with the rest of humanity.

This text by the critic and curator of Venezuelan art, Ariel Jiménez, includes important observations about contemporary art. The critical comments are valuable and timely for the comprehension of Venezuelan art, both as it fits into the scenario of world art and for understanding any one specific exhibition. He states that in contemporary art, there can be no generalizations, schools or manifestos, as appeared in the avant-garde movements from the early twentieth century through the early 1970s. Such movements were characterized by their combative spirit toward the historical time in which they appeared. According to Jiménez, to the contrary, late-twentieth century art seeks to communicate the unease of the people when faced by the threat that Earth may not be capable of containing our actions. In addition, we do not know if the human race will be able to survive in a world in which there are such enormous differences. On the one hand, our demographic growth is out of control, and on the other, there is an impressive centralized development of technology accompanied by measures of both hope and fear. Against this background, today’s artists frequently turn to the use of the body, reflecting on it and other elements that pertain to individuals in order to raise questions about human destiny and our societal organizations present and future. In the critic’s opinion, this is the sentiment that emanates from the work shown at this round of the Premio Mendoza. Here, the individual takes center stage, whether in relationship to the body or in terms of the social roles imposed by the society.