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.
In response to the absence of artists, such as Pablo Picasso and Juan Gris at the Contemporary Spanish Art Exhibition shown at the Museo Nacional de Bellas Artes in December 1947, the Argentinian artists expressed their disagreement by signing a manifesto. This note by Seoane, published in the Visual Arts section reports the rejection to the propagandistic strategies of the Franco-ist Hispanicism and transcribes the above-mentioned manifesto.
Defrontando-se com a ausência de artistas como Pablo Picasso ou Juan Gris na Exposição de Arte Espanhola Contemporânea, apresentada no Museo Nacional de Bellas Artes em dezembro de 1947, os artistas argentinos expressaram sua discordância assinando um manifesto. Nessa nota, publicada na seção de Artes Plásticas, transcreve-se o referido manifesto, dando conta do seu repúdio às estratégias de propaganda planejadas pelo hispanismo franquista.
Orientación: órgano central del Partido Comunista [Orientation: Central Organ of the Communist Party] was the newspaper of the Argentinean Communist Party. It circulated weekly beginning September 1936 under the title Hoy [Today]; later it adopted the name Orientación Semanario de información política, social y económica [Orientation: Political, Social, and Economic Weekly]. Although declared illegal and closed down in June 1943, it reappeared in August 15, 1945, as the official weekly newspaper published regularly until December 21, 1949, a period during which it was directed first in illegality by Ernesto Giudici (1907–92) and then by Rodolfo Ghioldi (1897-1985) under free circulation since April 30, 1947. The manifesto was signed by Antonio Berni, Vicente Caride, Romualdo Brughetti, Juan C. Castagnino, Miguel De Lorenzo, Manuel Oscar Espinosa, Luis Falcini, Albino Fernández, Chelo E. Fernández, Norberto A. Frontini, Carlos Giambiagi, Nina Haeberle, Alfredo Hlito, César Inga, Horacio Juárez, Raúl Lozza, Tomás Maldonado, Onofrio A. Pacenza, Alicia Pérez Penalba, Luis Pellegrini, E. Policastro, Eolo Pons, Pablo Rojas Paz, Segundo S. Rojas, Toño Salazar, Ideal Sánchez, Raúl Soldi, Lino Enea Spilimbergo, Demetrio Urruchúa, Domingo Viau, Wilfredo Viladrich, José Villalobos, Saúl Fucks, Mario Glorioso, and Raúl Monsegur, among many other artists. The manifesto was drawn up by Luis Seoane, a Spanish artist who lived in exile in Argentina. Note that the manifesto presentation (which was not signed) makes reference to another critique of the Exhibition of Contemporary Spanish Art published on November 12, issue number 417, of this same newspaper. This document was selected because it gives testimony of the circulation of complaints by a considerable group of Argentinean artists against the absence of more politically engaged Spanish artists at the Exhibition of Contemporary Spanish Art.