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.
Brief text of the visual artist from Uruguay Rodolfo Ian Uricchio, that exhibits the playful and imaginative language that was used in the Madí Art Movement. The essay was issued by the movement as part of their main media, the journal Arte Madí Universal (1947–54). It seems to allude to the discovery of Madí’s artistic process creation and “invention.” This article was accompanied with a self-portrait of the artist and some photographs of his articulated and transformable sculptures, which exemplified Madí’s sculpture.
Brief text of the visual artist from Uruguay Rodolfo Ian Uricchio [Rodolfo Troncone] (b. Montevideo, 1919; d. Montevideo, 2007) that shows the characteristic language from Madí Art Movement. This playful and imaginative language was developed under the leadership of the sculptor and poet Gyula Kosice [Fernando Fallik] (b. Kosice, Slovakia, 1924; d. Buenos Aires, 2016), whom even published in the pages of Arte Madí Universal (1947–54), a dictionary of invented terms [see ICAA digital archive (doc. no. 1297301)]. The essay of Uricchio seems to allude to the discovery of Madí’s artistic process of creation and “invention”— an “imaginative formula of transaction between nothing and nature.” The text is accompanied by a self-portrait of the artist and photographs of his sculptures, which suggest the reader that these works are the result of such “formula.” The juxtaposition of work and artist is similar to others that appeared in the same issue of the journal which shows Kosice and the Uruguayan artist Rhod Rothfuss [Carlos María Rothfuss] (1920–69) (docs. no. 1297343 y 1297202). Furthermore, the present document proves that Arte Madí Universal constituted a manifest for the integration of the arts in itself: in its pages often drawings are juxtaposed with paintings and sculptures with manifestos, poems, musical compositions, passages from theater scripts and scenography’s designs, promulgating the idea that not only visual arts but music, architecture, theater, dance, poetry, and literature could collaborate to raise human existence (docs. no. 1297323, 1304937, 1297374). The sculptures from Uricchio exemplified Madí’s sculpture, which should be tridimensional, without color and produce translation, rotation, and articulation movements just as is proposed in the title, “Rotor’s” on the photographs and how it was stipulated by Madí’s Manifest (doc. no. 732008) and other text of Kosice (doc. no. 1297343).
Uricchio, childhood friends with Rothfuss, associated with the movement right after its inception. While he lack of formation, his interest in the functioning of toys and mechanical objects made him to create, between 1946 and 1948, articulated and transformable objects of small format, which were exhibited in collective shows in Buenos Aires and Montevideo, and notably in the third Salon des Réalités Nouvelles of 1948 in Paris (doc. no. 1297238). Madi´s Art Movement, started by Kosice, the German visual artist Martín Blaszko (1920–2011) and the Uruguayan visual artist Carmelo Arden Quin (Carmelo Heriberto Alves; 1913–2010), formed part of an important cultural revolution that lead to a productive and notable tie between visual arts and other artistic disciplines in Argentina. Kosice, Arden Quin, Rothfuss and Argentinean poet Edgar Bayley (1919–90) had already initiated this revolution in 1944 issuing the unique number of the Journal Arturo, a publication that would alter the course of Latin American art. (docs. no. 729906, 730241, 729940, 729833, 730292).