In light of the past 70 years of its history, Rodrigo Figueroa reviews the surprising capacity of Venezuelan art to survive internationally yet locally blossom despite the terrible socio-political crisis they face.
The economic difficulties and the impossibility of accessing basic services in addition to the risk of political persecution have led millions of people, including many who work in the arts, to emigrate.
This situation has led to the emergence of new management models that are more economically self-sustainable and with independent discursive lines, allowing such spaces to begin to expand outside the confines of Venezuela.
Caracas has six important museums, each one with a distinct identity: Galería de Arte Nacional (GAN), founded in 1974; Museo de Bellas Artes (MBA), founded in 1918; Museo de Arte Contemporáneo Sofía Ímber, now called Museo de Arte Contemporáneo Armando Reverón (MAC), founded in 1973; Museo Alejandro Otero (MAO), founded in 1990; Museo de la Estampa y del Diseño Carlos Cruz-Diez, founded in 1997; and the Museo Jacobo Bórges (MUJABO), founded in 1995.
The CONAC had five main objectives: 1) the creation of Human Resources, an agent of cultural development, 2) the conservation and reappraisal of cultural heritage, 3) the growth of the culture industry, 4) the growth and stimulus of creative production (through the National Prizes), and 5) cultural cooperation within the framework of regional integration.
The primary market, or securities market, is a financial market which issues tradable securities that are being sold for the first time. Art galleries often work in the art world as a means of buying and selling on the primary market.
An example of this is the Venezuelan government’s last-minute decision to bar Pedro Morales from exhibiting at the 2003 Venice Biennial.
Examples of this kind of exhibition in 2019 include: Archivo Abierto: DESINENCIA-a (2019) and FORMA [APARIENCIA] (2018) at ABRA Caracas; 2014-2019 (2019) at Espacio Monitor; and Señales de erosión (2019) at Carmen Araujo Arte.
Two thousand and nineteen examples include Vibraciones locales. De los límites blandos y la danza con Plutón at ABRA Caracas; Valentina Rodríguez’s Naturalización and Paula Mercado’ Caos Primitivo (Homenaje a la Melancolía) at Rodrigo Urbina; Habián Solvmar’s Kozmogónia and Javier Lein’s CCS at Espacio Monitor; and Costanza de Rogatis’s Aquí (Despliegue), Pepe López’s Carta de Colores, and Raquel Soffer’s Caracas Ciudad Amalgama at Beatriz Gil Galería.
Musical albums in which producers take advantage of a print run and includes small albums by two or more artists or groups on the same disc.
For example, the many pilgrimages to Jesús Soto’s Esfera de Caracas, a large public kinetic sculpture or the constant photoshoots in front of Carlos Cruz-Diez’s mural Cromointerferencia de color aditivo in the Maiquetía International Airport attest to this phenomenon.
Outside Venezuela it has developed scholarship programs, exhibitions and donations of works by Venezuelan and Latin American artists to important museums such as MoMA (USA), Museo Nacional Reina Sofía (ES), Blanton Museum (USA), among others.
Among their recent exhibition projects in international museums we can find Consenting Modernity: Informalism in Venezuela 1955–1975 exhibited in 2018 at the Museum of Fine Arts in Houston.
Among the participation of independent Venezuelan galleries in international art fairs, exhibiting works by contemporary Venezuelan artists are the cases of: Carmen Araujo Arte: Pinta NY (2013), ARCOmadrid (2015, 2016, 2017, 2018, 2019), ARTBO (2013, 2014, 2015, 2017, 2018, 2019), PARC (2016), Art Lima (2018-2019), Ch.ACO (2017-2018), arteBA (2015, 2017, 2018, 2019), Arts Libris (2016); ABRA Caracas: Art Toronto (2016), ARTBO (2017, 2018, 2019), Artissima (2019), Pinta Miami (2018), PARC (2018); Beatriz Gil Galería: Pinta NY (2010), Pinta Miami (2018-2019), Ch.ACO (2018); and El Anexo Arte Contemporáneo: Pinta Miami (2014, 2016, 2017, 2018).