Aurora Blyde interviews Oscar Machado on the occasion of the exhibition CCS-10. Arte venezolano actual (Caracas: Galería de Arte Nacional, 1993). Machado begins by acknowledging the sculptor Francisco Narváez, from whom he not only learned how to work with stone but also learned about the sculptor’s life and trade. Then Blyde discusses Machado’s works, which she refers to as “anti-sculptures.” The artist points out that he is not trying to produce precious or “finished” sculpture; he describes his pieces as “works that have been violated and stripped by time or by a destructive force” that reveal the artistic fusion of the archaic and the enigma of the future. The interview ends with Machado talking about the relationship between people and technology, and about the future of mankind.  

The CCS-10. Arte venezolano actual exhibition was one of the most important events ever devoted to conceptual art, non-object-based art, and the use of mixed media and technology in Caracas. Curated by the graphic designer Álvaro Sotillo (b. 1946), the exhibition included ten emerging artists from the 1970s and 1980s who, by 1993 (when the exhibition opened) had already established themselves: Eugenio Espinoza (b. 1950), Sigfredo Chacón (b. 1950), Héctor Fuenmayor (b. 1949), Roberto Obregón (b. 1946), and several others who came into their own later on: Alfred Wenemoser (b. 1954), Sammy Cucher (b. 1958), Meyer Vaisman (b. 1960), Oscar Machado (b. 1953), José Gabriel Fernández (b. 1957), and José Antonio Hernández-Diez (b. 1964).

This interview reveals that the “conceptual” tent can accommodate a broad range of artistic ideas. This became obvious when Machado explained what his work involves. Though he is considered a “sculptor” in the conventional sense of the term, his works prompt reflection on the traditional materials used in this medium, and question the very concept of “sculpture.” He admits that his (very painful) process consisted of stripping the materials (wood and/or stone) from his sculptures and covering them with cement. He refers to his works as “anti-sculptures,” “strange objects,” or “fragments of abandoned objects.” Machado states that a sculpture can express a philosophical and humanistic idea, like his (with strong metaphorical undertones). But the visual image also prompts conceptual and critical reflection (technical and material) about art languages. From that perspective, this document is important because it is about an artist who works on the fringes of the traditional three-dimensional language par excellence (sculpture) and conceptual art.     

In his brief philosophical reflection, and from his own artistic perspective, Machado addresses some of the major problems facing contemporary mankind, such as the vast implications of technology; the uncertainty of the future of the human species; mankind’s vulnerability; and life and death. 

To read Blyde’s interviews with other artists who participated in the CCS-10. Arte venezolano actual exhibition, see “Jugando a atrapar el espacio [Entrevista con Sigfredo Chacón]” [doc. no. 864412]; “Por la seducción de ver [Entrevista con José Gabriel Fernández]” [doc. no. 864393]; “Para hacerle ofrendas a la muerte [Entrevista con Roberto Obregón]” [doc. no. 1097592]; “Irreflexiones, reflexiones y flexiones [Entrevista con Héctor Fuenmayor]” [doc. no. 864715]; “Haciendo notas del inconsciente [Entrevista con Sammy Cucher]” [doc. no. 864676]; “Ficción sobre ficción [Entrevista con Meyer Vaisman]” [doc. no. 1051228]; “Entre el orden histórico y el caos emocional [Entrevista con Eugenio Espinoza]” [doc. no. 864696]; and “En la búsqueda, pero sin querer buscar [Entrevista con José Antonio Hernández-Diez]” [doc. no. 864736].