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.
A lecture given on September 25, 1948, in the Nuevas Realidades salon at the Van Riel Gallery in Buenos Aires, in which Ernesto Rogers analyses Concrete art, while acknowledging tradition as an active force. From that critical stance, he considers the relationship between utility and beauty, the role of adornment, and the various forms of poetics that have appeared in Concrete art.
The only two issues of Ciclo. Arte, literatura, pensamientos modernos (“Ciclo: Art, Literature, Modern Ideas”) that were ever published appeared in November/December 1948, and March/April 1949, respectively. The Board of Directors consisted of Elías Piterbarg, Aldo Pellegrini (1903-73), and Enrique Pichón Rivière (1907-77), who provided space in the magazine for surrealist proposals as well as constructive ones. David José Sussmann was the manager. Tomás Maldonado (1922) designed the first issue, then shared the task with Alfredo Hlito (1923-93) on the second one. Ernesto Rogers was the editor of Domus, the Italian magazine, a very important publication in architectural and design circles. His presence in Buenos Aires helped to connect the local Concrete art avant-garde with European artists engaged in similar work, such as Max Bill, Georges Vantongerloo, Friedrich Vordemberge-Gildewart, and Richard Lohse, among others. This particular text has been included because it provides a record of the time Ernesto Rogers spent in Buenos Aires, and of the lecture he gave there at the Van Riel Gallery.