Documents of Latin American and Latino Art

This article, written by Elsa Flores for Fotografía anónima en Venezuela—the exhibition organized by Claudio Perna at the GAN (Galería de Arte Nacional) in 1979—is divided into three parts. In the first part, Flores discusses the origins 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 this essay Eugenio Espinoza names nine artists (himself included) who, in his opinion, have distinguished themselves in the field of contemporary art as being creators of a body of work that “is neither art nor anti-art, but something in between [...]

This (unsigned) article is a review of the exhibition of photocopies produced by the artists María Zabala, Roberto Obregón, Diego Rísquez, Joe, Lorenzo Berman, Sigfredo Chacón, Héctor Fuenmayor, and Claudio Perna. The exhibition was held at the [...]

In her essay “Arte-idea-geografía,” María Elena Ramos discusses Claudio Perna’s conceptual pieces seen in “conventional” photographs with no “artistic pretensions.” She then turns to Marcel Duchamp and conceptual art. She presents [...]

This essay by the curator Lourdes Blanco was published in the catalogue for Autocopias, the exhibition of works by Claudio Perna. In her essay, Blanco explains that details about the conceptual artist’s life and work were hard to find, so she [...]

This essay by Roberto Guevara was published in the catalogue for Re-presentaciones: foto-grafías y acupinturas (Caracas: Fundación Eugenio Mendoza, 1981), the exhibition of works by the Venezuelan geographer and conceptual artist Claudio Perna. [...]

In this essay the curator Zuleiva Vivas writes about Claudio Perna. She mentions the difficulties involved in studying a body of (conceptual) work that is as vast and as varied as Perna’s. She lists the media this artist used and the series of [...]

In this interview, José Napoleón Oropeza talks to Claudio Perna, described here as a talkative artist who has taught art and geography to several generations of students. Oropeza includes a description of Perna’s home-studio in Caracas, where [...]

In this essay, Luis Enrique Pérez-Oramas analyzes the work Autocurrículum by the Venezuelan conceptual artist Claudio Perna. Pérez-Oramas defines this work from several different angles: as a physical object, as a written work and as conceptual [...]

In this essay, Guillermo Barrios describes the exhibition El espíritu de los tiempos (Caracas: Ateneo de Caracas / Galería Los Espacios Cálidos, 1991) as a confluence of five different points of view, expressed by the participating curators who, [...]

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

In the first section of Sí y No, her column in the Caracas newspaper El Nacional, the journalist Margarita D’Amico publishes some of the thoughts on “today’s art” expressed by Claudio Perna, the photographer and conceptual artist. Perna [...]

In this essay, which was the main text in the catalogue Arte social. Claudio Perna (Caracas: Galería de Arte Nacional, 2004), Zuleiva Vivas discusses various aspects of Perna’s life and work. She studies the artist’s work from the 1960s to the [...]

In this text, the curator Luis Ángel Duque exposes the reasons why the sixth Bienal de Artes Visuales Christian Dior (1999) is dedicated to hypermedia. In his view, each of the twenty-four participants in the exhibition used imagery and expressed [...]

In this essay, published in the catalogue for the exhibition La invención de la continuidad (Caracas: Galería de Arte Nacional, 1997), the curator Luis Enrique Pérez-Oramas discusses questions associated with the development of twentieth-century [...]

In this newspaper article Mara Comerlati reviews Re-presentaciones: foto-grafías y acupinturas, the exhibition of works by Claudio Perna at the Sala Mendoza (Caracas, 1981). Comerlati discusses the situation of this artist who, after spending many [...]

In this article, Elsa Flores reviews the works by the eleven Venezuelan artists who participated in the exhibition Once Tipos (Sala Mendoza, Caracas, 1981): William Stone, Corina Briceño, Rolando Dorrego, Héctor Fuenmayor, Ana María Mazzei, Manuel [...]

In the essay “Los nuevos procesos y la representación figurativa” [The New Processes and Figurative Representation], chapter III of the book La desaparición de los límites [The Disappearance of Limits], author Zuleiva Vivas explains the [...]

In this essay, curator Julieta González discusses artist Claudio Perna, specifically the way he uses photography and his archive-based methodology. González argues that Perna’s photographs can be analyzed in terms of the concept of the “index [...]

On September 30, 1979 Margarita D’Amico used her column—Sí y No—in the Sunday edition of El Nacional to review the creative work of three Venezuelan conceptual artists: Claudio Perna, Rolando Peña, and Eugenio Espinoza. She included Perna’s [...]

This is an unsigned article published in connection with a 1992 exhibition of work by Claudio Perna entitled Venezuela desde el cielo. The article defines him as a fully developed creator and theorist of contemporary life. Moreover, it emphasizes [...]

The essay “Visión panorámica de las nuevas cartografías. Los años setenta: se borran los límites” is the first chapter of the monographic book by Zuleiva Vivas on the life and work of Claudio Perna. In it, the author provides an overview of [...]