The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This document is a letter from Leonilda González, former secretary general of the Club de Grabado de Montevideo (CGM), to Óscar Ferrando, who took charge of the institution when González left the country in exile. The letter is a confidential summary of the CGM history from the time of its founding in 1953; it mentions individuals and recounts anecdotes pertinent to the inner workings of the club that proved crucial to determining the development of the institution in the fifties and sixties.
Leonilda González, former secretary general of the Club de Grabado de Montevideo (CGM), wrote a long letter, from Colombia where she was in exile, to her colleague, artist Óscar Ferrando, who was replacing her as the head of the club. Confidential in tone, the letter is an exercise in memory that reconstructs much of the CGM history, recalling its central figures and the internal problems it had faced in the sixties. The letter mentions international events in which the CGM participated through special delegates, among them the first Congreso Latinoamericano de la Cultura held in Santiago, Chile (attendants included prestigious artists such as Mexican Diego Rivera; it was organized by Pablo Neruda and Gabriela Mistral). The letter speaks of the peak of the CGM, from 1964 to 1967, during which it changed its location, established a scholastic curriculum, and for the first time, elected officials pursuant to free elections. Some of the details of the inner workings of the organization are highly confidential. Notwithstanding, the letter provides new and firsthand information on the strengths and weaknesses of an institution of crucial importance to artistic practices linked to the graphic arts and to the formation of a collective imagination of a period (the sixties) of social and political crisis. [For further reading, see in the ICAA digital archive the following texts published by the Club de Grabado de Montevideo: “Concurso de grabado para edición” (doc. no. 863481); “13 años de actividad de Club de Grabado de Montevideo” (doc. no. 1183571); “El arte correo en el Uruguay” (doc. no. 1191850); “Boletín N°7 Club de Grabado de Montevideo” (doc. no. 1182833); “Club de Grabado compra su casa” (doc. no. 1192649); “Club de Grabado de Montevideo 22 Aniversario 1953-Agosto 1975” (doc. no. 1183514); “Club de Grabado de Montevideo a la población de Montevideo” (doc. no. 1183124); “Cuando el Tercer Mundo se mira a sí mismo. II Bienal de La Habana” (doc. no. 1184459); “De los grabados de ayer a las ediciones actuales” (doc. no. 1191787); “Definiciones / Uno” (doc. no. 1189065); “Entrevista a Luis Mazzey” (doc. no. 1186991); “Entrevista a Óscar Ferrando” (doc. no. 1186747); “Entrevista a Óscar Ferrando [segunda parte]” (doc. no. 1186802); “Fundamentos a propósito de su 22 aniversario” (doc. no. 1182640); “Mini grabado Internacional de Cadaqués. España” (doc. no. 1191135); “La necesidad de la imaginación” (doc. no. 1190793); “Nuestra institución” (doc. no. 1182010); “Los nuevos movimientos de las artes” (doc. no. 1182868); “Opiniones (I)” (doc. no. 1185411); “Palabras de clausura para un año de apertura” (doc. no. 1191167); “Referencias sobre identidad, cultura y arte en Latinoamérica” (doc. no. 1183641); “Reflexiones en torno a la supuesta crisis de las artes plásticas” (doc. no. 1185539); and “Sobre el papel de la crítica” (doc. no. 1187071)].