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A review of Salón Nuevas Realidades, the exhibition held at the Van Riel Gallery in Buenos Aires that juxtaposed in the same area both concrete and abstract art—the latter with a prone to intuition. In this article, Bayley highlights the number of sculptures on display, as well as to the great diversity of pictorial proposals.


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, sharing the task with Alfredo Hlito (1923-93) on the second one.

Edgar Bayley is the name that was used by Edgar Maldonado Bayley, the Argentine poet who was born in 1919 and died in 1990. He was one of the group that launched Arturo magazine, and a founding member of the Arte Concreto — InvenciónAssociation. He published numerous collections of poems, stories, and essays, and was also a member of Poesía Buenos Aires.

This document chronicles the critical reviews of the Salón Nuevas Realidades exhibition, held at the Van Riel Gallery, which included works by the following artists: Enio Iommi (1926), Jorge Souza (1919), Gregorio Vardánega (1923-2007), Claudio Girola (1923-94), Arden Quin (1913), Martín Blaszko (1920), Tomás Maldonado, Juan Mele (1923), Virgilio Villalba (1925), Roth Rothfuss (1920-69), Juan Alberto Molemberg (1921), Juan Del Prete (1897-87), Yente (1905-90), Alfredo Hlito, Manuel Espinosa (1912-2006), Lidy Prati (1921), Fedullo, Vicente Forte (1917-80), Mimo Mena, Alejandro Vainstein, Mané Bernardo, Catalana, S. de Carelli, Morera, Belgiojoso, Peressutti, and Ernest Rogers.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Susana Maldonado, Buenos Aires, Argentina
Archivo Fundación Espigas.