Documents of Latin American and Latino Art

In the design ¿Y por qué no?, the artist Antonieta Sosa describes the action planned in detail. As she states it, this work consists of placing wine glasses on different parts of her body so that they will drop and break. Added to the sound of [...]

In the book 11 tipos. Arte en Venezuela en los años setenta, the researcher Juan Carlos Palenzuela makes an exhaustive study of Venezuelan art in the1970s, a time when conceptual art was unquestionably being produced in that country. The author [...]

In Acción divisoria del espacio, the Venezuelan performance artists Yeni and Nan [Jennifer Hackshaw and María Luisa González] describe their presentation. They explain that it is staged in a space where images are projected from four slide [...]

In his proposal/script Acerca de la poesía de acción the Venezuelan artist Diego Barboza explains the importance of this urban project. The performance is a collective experience in which participants wear (red and blue) hats which, in his opinion [...]

The Venezuelan artist Carlos Zerpa, in the text “Ceremonias con armas blancas,” describes his proposal for performance art and explains it from two perspectives: one “conceptual” and the other “artistic.” In the former, he states that the [...]

In this gallery text, Venezuelan artist Antonieta Sosa describes the action Del Cuerpo al Vacío [From My Body to the Void], which was structured into three interrelated parts. Part I, performed in the courtyard of the Galería de Arte Nacional (GAN [...]

The artist, journalist, and theatre director Marco Antonio Ettedgui, in Hospitalización por cálculo renal, performed in Caracas, describes the action as a therapeutic experience of having a kidney stone. According to Ettedgui, the performance is [...]

In “Juanita Mota, la mujer de Reverón,” the Venezuelan artist Itamar Martínez quotes what Juanita Mota, Armando Reverón’s wife (married at the time of his death) has to say about her fraternal and faithful relationship with the painter. In [...]

In this article entitled “Nela Ochoa,” critic Víctor Guédez analyzes the video installation of the Venezuelan artist, Lejana [Far Away]. Guédez explores the symbolic and conceptual nature of the work, at the same time connecting Ochoa’s [...]

In this text, Venezuelan artist Pedro Terán describes the action Nubes para Colombia as an attempt to create an artistic discourse on the basis of the audience-artist-work triangle. Terán explains that the performance employed the monotone sounds [...]

In this text, non-object artist Alfred Wenemoser describes two of his actions. In the first, Persona a persona, he interacts with viewers in interviews in which he serves as the host, communicating verbally in one-on-one encounters with the public- [...]

Researcher María Elena Ramos includes two interviews in her “Presentación” of the book Acciones frente a la Plaza. Reseñas y documentos de siete eventos para una nueva lógica del arte venezolanos, the first with historian Bélgica Rodríguez [...]

In her essay “Reverón descansa en Juanita,” Marta Traba explores Armando Reverón’s tendency to choose women as the subject matter of his paintings. Traba pays particular attention to how Reverón uses his wife, Juanita, to express memories of [...]

In his essay “Siete eventos para una lógica del arte venezolano,” the critic Juan Calzadilla describes the 1981 event Acciones frente a la Plaza, which involved non-objective works of art produced by seven artists in different parts of the city [...]

This text entitled “Ars política” by critic Marta Traba discusses Lo que comen los que comen (Caracas, 1973), a show of works in clay by artist Tecla Tofano. Traba analyzes the formal changes that Tofano’s work underwent in the sixties. She [...]