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.
The Aquí Madí section of the journal Arte Madí Universal featured news about cultural events and editorials on the Madí group and on other avant-garde tendencies. The 1954 edition contained a thorough response to the criticism of the Madí group that M. J. de Lellis and Aldo Pellegrini—director of the journal Letra y Línea at the time—had published in 1953. The text in this section also reports on the lectures that G. Kosice gave in Teresópolis, Brazil on the occasion of the 5th Curso Internacional de Ferias. It attests to the fact that the Madí group engaged in extensive exchange with all realms of the arts, specifically with figures like composer Estéban Eitler, painter Sandú Darié Laver, and sculptor Pablo Curatella Manes, among others.
The journal Arte Madí Universal (1947–54) was the bulletin of the Movimiento de Arte Madí. Czech-born sculptor and poet Gyula Kosice [Fernando Fallik] (Kosice, Slovakia, 1924–Buenos Aires, 2016) was the movement’s cofounder and leader, and the director of its journal. Kosice also wrote under the alias of Raymundo Rasas Pet, and explained that that heteronym was a sort of alter-ego over which he had no control. He used the name as well at exhibitions of works of art like, for instance, the Salon des Réalités Nouvelles in Paris in 1948 [see ICAA digital archive (doc. no.1297238)].
Founded by Kosice, German visual artist Martín Blaszko (1920–2011), and Uruguayan visual artists Rhod Rothfuss [Carlos María Rothfuss] (1920–69) and Carmelo Arden Quin [Carmelo Heriberto Alves] (1913–2010) in 1946, the Movimiento de Arte Madí formed part of a major cultural revolution that gave rise to an impressive and productive exchange in Argentina between the visual arts and other artistic disciplines. On the Movimiento Madí, see the “Manifiesto Madí” (doc. no. 732008), “Madigrafías” (doc. no. 1297374), and the dictionary of terms invented by Kosice (doc. no. 1297301).
Kosice, Arden Quin, Rothfuss, and Argentine poet Edgar Bayley (1919–90) had planted the seed of that revolution in 1944 with the first and only issue of the journal Arturo—a publication that would change the course of Latin American art—in articles like Arden Quin’s [Son las condiciones materiales de la sociedad…] (doc. no. 729906); Edgar Bayley’s [Durante mucho tiempo el criterio...] (doc. no. 730241); Gyula Kosice’s [La aclimatación gratuita a las llamadas escuelas…] (doc. no. 729940); Rhod Rothfuss’s “El marco: un problema de plástica actual” (doc. no. 729833); and Joaquín Torres-García’s “Con respecto a una futura creación literaria” (doc. no. 730292). The Arturo artists condemned the backward realisms that dominated the Argentine art scene at the time. They wanted to leave expression and illusionism in art behind to replace them with concrete art based on the notion of “invention” or pure creation. After the original Arturo group split due to theoretical differences, different tendencies emerged: the Asociación de Arte Concreto-Invención (AACI, founded in 1945), the Movimiento de Arte Madí (founded in 1946), and Perceptismo (founded in 1949). The agenda of each group is stated in its foundational manifesto: the Manifiesto Invencionista (doc. no. 731641), the aforementioned Manifiesto Madí, and the Manifiesto Perceptista (doc. no. 731656).