In-depth scholarly analysis and critical writing on Diego Barboza's work
Katherine Chacón
Scholarly examination of Diego Barboza's participatory art as educational action, exploring his groundbreaking 1968 trip to London and development of "Expresiones." Analyzes iconic works including "30 muchachas con redes" and "Put a net and come along," examining his revolutionary philosophy of "Arte como gente/gente como arte." Traces his participatory practice from the London period through his final work "De la Escuela de Atenas a la Nueva Escuela de Caracas" (1985), establishing Barboza as a pioneer who introduced Performance Art and Happenings to Venezuela.
Arelis Spencer Quirk (2021)
Comprehensive documentation and critical analysis of Diego Barboza's groundbreaking performance art pieces in London during 1970-1971. This definitive study chronicles his "Poetic Actions" including "30 muchachas con redes" (March 7, 1970), "Con redes y sombreros en mercados y restaurantes" (October-December 1970), "El ciempiés" (May 20, 1971), and "Expresiones en una lavandería automática" (May 20, 1972). Features first-hand testimonials from participants, extensive photographic documentation by José Calabrese and Diego Barboza, and detailed accounts of each performance's execution and public reception in London's streets, markets, and public spaces.
Anny Bello & Katherine Chacón
Comprehensive retrospective examining artistic evolution from groundbreaking conceptual art period in London (1968-1973) to return to painting in 1980s. "Como pionero de una generación que advirtió y exploró los planteamientos del arte no objetual, Diego Barboza redefinió con sus 'expresiones' las relaciones entre el hombre y el proceso creativo." Explores how conceptual art background informed unique approach to neo-figurative work, creating paintings that maintained participatory spirit while exploring personal narratives, Venezuelan cultural identity, and appropriations of art history.
Milagros Bello
Examines Barboza's contributions to Latin American neo-figurative painting. "Diego Barboza opened a new chapter in Latin American Neo Figurative painting. Beyond the surreal or the magical realism of the modern Latin American Master, he obsessively looked to create a new language of dislocation and transgression." Analyzes how appropriation and reinterpretation of canonical art historical works created unique artistic language that challenged traditional reverence for European art history. Explores works like "FIGURARSE" (1991), examining humor and temporal displacement to question relationships between Latin American artists and European art historical traditions.
Enrique Viloria Vera | "El erotismo en el Arte Contemporaneo Venezolano"
"In Barboza's work, carnal love is interpreted in the ultimate form: brutal, without concessions, snatched and snatching." Explores how Barboza transforms the kiss into a bite, caresses into grips, and bodies into receptacles of savage caresses that border on sadism. Examines depiction of excessive, brutal passion that makes bodies integrate, mold together, making separations impossible—torrential love without compassion.
Oscar Sjöstrand | "Doce Indagaciones en el Arte"
Deeply personal essay recounting experience studying with Diego Barboza at Liceo "Pedro Emilio Coll." Recalls Diego's unconventional teaching methods and philosophy that domestic objects were inexhaustible source of inspiration, reinvented through line and color. Concludes with touching memories of Diego's love of everyday life, Tarot cards, and statement that "everything forms part of the work"—leaving something of his life in each painting.
For full-text versions of these essays or to inquire about additional critical writing, contact the estate.
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