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Anachronic 1968: The Crisis of Media in Imagen de Caracas.

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Title: Anachronic 1968: The Crisis of Media in Imagen de Caracas.
Authors: Méndez, Noraedén Mora (AUTHOR)
Source: Discourse: Journal for Theoretical Studies in Media & Culture. Winter2025, Vol. 47 Issue 1, p56-84. 29p.
Subject Terms: *Artists, Multimedia (Art), Nineteen sixties, Experimental films, Historical errors, Crises
Geographic Terms: Caracas (Venezuela), Caribbean, Venezuela
Abstract: This article examines *Imagen de Caracas*, a 1968 Venezuelan avant-garde multimedia spectacle commissioned by the government to commemorate Caracas’s 401st anniversary, as a critical artistic intervention that disrupts traditional linear narratives of history and space through a "crisis of media." Conceived by painter Jacobo Borges and a collective of artists, the project combined film, performance, architecture, and sound to create an interactive, nonchronological experience that challenged official state narratives of national unity and progress amid Venezuela’s complex sociopolitical context. Although abruptly shut down by the government shortly after its debut, *Imagen de Caracas* remains a foundational work in Latin American experimental art and cinema, notable for its layered temporality, hypermediated aesthetics, and engagement with Venezuela’s colonial and contemporary crises. The article situates the work within broader 1968 global and local upheavals and highlights its ongoing relevance for rethinking history, memory, and representation from a Caribbean and Global South perspective. [Extracted from the article]
Copyright of Discourse: Journal for Theoretical Studies in Media & Culture is the property of Wayne State University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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  Data: Anachronic 1968: The Crisis of Media in Imagen de Caracas.
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  Data: <searchLink fieldCode="JN" term="%22Discourse%3A+Journal+for+Theoretical+Studies+in+Media+%26+Culture%22">Discourse: Journal for Theoretical Studies in Media & Culture</searchLink>. Winter2025, Vol. 47 Issue 1, p56-84. 29p.
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  Data: *<searchLink fieldCode="DE" term="%22Artists%22">Artists</searchLink><br /><searchLink fieldCode="DE" term="%22Multimedia+%28Art%29%22">Multimedia (Art)</searchLink><br /><searchLink fieldCode="DE" term="%22Nineteen+sixties%22">Nineteen sixties</searchLink><br /><searchLink fieldCode="DE" term="%22Experimental+films%22">Experimental films</searchLink><br /><searchLink fieldCode="DE" term="%22Historical+errors%22">Historical errors</searchLink><br /><searchLink fieldCode="DE" term="%22Crises%22">Crises</searchLink>
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  Data: <searchLink fieldCode="DE" term="%22Caracas+%28Venezuela%29%22">Caracas (Venezuela)</searchLink><br /><searchLink fieldCode="DE" term="%22Caribbean%22">Caribbean</searchLink><br /><searchLink fieldCode="DE" term="%22Venezuela%22">Venezuela</searchLink>
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  Label: Abstract
  Group: Ab
  Data: This article examines *Imagen de Caracas*, a 1968 Venezuelan avant-garde multimedia spectacle commissioned by the government to commemorate Caracas’s 401st anniversary, as a critical artistic intervention that disrupts traditional linear narratives of history and space through a "crisis of media." Conceived by painter Jacobo Borges and a collective of artists, the project combined film, performance, architecture, and sound to create an interactive, nonchronological experience that challenged official state narratives of national unity and progress amid Venezuela’s complex sociopolitical context. Although abruptly shut down by the government shortly after its debut, *Imagen de Caracas* remains a foundational work in Latin American experimental art and cinema, notable for its layered temporality, hypermediated aesthetics, and engagement with Venezuela’s colonial and contemporary crises. The article situates the work within broader 1968 global and local upheavals and highlights its ongoing relevance for rethinking history, memory, and representation from a Caribbean and Global South perspective. [Extracted from the article]
– Name: AbstractSuppliedCopyright
  Label:
  Group: Ab
  Data: <i>Copyright of Discourse: Journal for Theoretical Studies in Media & Culture is the property of Wayne State University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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        Value: 10.1353/dis.2025.a986922
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        Text: English
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      – SubjectFull: Nineteen sixties
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      – SubjectFull: Crises
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              Text: Winter2025
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