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.
Edition of Madigrafías that Raymundo Rasas Pet—heteronym for Gyula Kosice, cofounder and leader of the Movimiento de Arte Madí—published in the second issue of the journal Arte Madí Universal (1947–54). Madigrafías, a term which refers to a type of Madí writing somewhere between poetry and manifesto, illustrate how important imaginative use of language was to the Madí group.
The second version of madigrafías by Raymundo Rasas Pet were published in the second issue of the journal Arte Madí Universal (1947–54), the bulletin of the Movimiento de Arte Madí. Rasas Pet was a heteronym used by Czech-born sculptor and poet Gyula Kosice [Fernando Fallik] (Kosice, Slovakia, 1924–Buenos Aires, 2016), cofounder and leader of the Madí movement and director of the journal. Kosice explained that that heteronym was a sort of alter-ego over which he had no control. He used the name as well for exhibitions of works of art like, for instance, the Salon des Réalités Nouvelles in Paris in 1948 [see “Vista del stand de Madí en París,” ICAA digital archive (doc. no. 1297238)]. In an issue of the magazine published fifty-two years after what had been its last issue (Kosice, Gyula, and Rafael Cippolini, ed. Arte Madí Universal No. 9/10. Buenos Aires: Talleres Trama, 2006), Ignacio Quadri argues that madigrafías were a sort of Madí writing somewhere between poem and theoretical manifesto; indeed, together those three forms of writing were part of a complex strategy. Other madigrafías were published in subsequent issues of the journal. As Jorge Rivera observes in “Gyula Kosice, una prehistoria del futuro” (in Madigrafías y otros Textos. Grupo Editor Latinoamericano, 2001), the madigrafías varied a great deal from issue to issue since they were written in relation to a specific context. The language of these first madigrafías is closer to the format of the “Manifiesto Madí” (doc. no. 732008), whereas the language of the ones in the next issue is more poetic. Significantly, this document was published along with a dictionary of terms invented by Kosice in “Suplemento para el diccionario MADÍ” (doc. no. 1297301). The inclusion in the journal of the madigrafías as well as the dictionary and manifestos, poems, essays, and stories—like the one by Argentinean visual artist and poet Diyi Laañ (1927–2007), “La batalla de Inod” (doc. no. 1304937)—illustrates how important the imaginative use of language was to the Madí group. The madigrafías also evidence Kosice’s playful and poetic use of language—an approach that would make itself felt in Argentinean literature in subsequent years.