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.
This essay by Héctor Pablo Agosti discusses the philosophical grounds of the new realism as viewed from the perspective of a dialectical knowledge of outer reality. Agosti preferred to call it “dynamic realism,” which he conceived as being a step beyond abstract art since it consisted of translating reality through the temperament of a man who has been modified by social relationships. This essay also emphasizes that, as distinct from the dehumanizing and evasive aspects of abstract art, a realism that is steeped in discourse and dialectics turns abstraction into a way of addressing reality. It thus refuses to be simply “mirroring,” like an impression made from a photographic plate.
Contrapunto, a bimonthly magazine, was devoted to literature, criticism, and art. The magazine’s objective was to explore the hidden nuances to be found among the more extreme positions, deliberately adopting a heterogeneous approach when it came to selecting subject matter and writers. The Editorial Board consisted of Héctor René Lafleur (Secretary), León Benarós, Arturo Cerretani, Sigfrido Radaeli, José Luis Lanuza (all of whom were writers), the illustrator Fernando Guibert, the poet Alejandro Denis-Krause, and the painter Raúl Lozza (editors). Daniel Devoto, César Fernández Moreno, and Roger Plá were also in the editorial department, and Tristán Fernández was in management. Contrapunto appeared six times in Buenos Aires between December 1944 and October 1945. Héctor Pablo Agosti was an Argentine intellectual who was born in 1911 and died in 1984. Politically active, he held a leadership position in the local Communist Party. He wrote Defensa del realismo [In Defense of Realism] while living in exile in Montevideo, Uruguay, where he settled after being forced out of Argentina following the military coup of July 4, 1943. During this period, Agosti and Rodolfo Ghioldi published Pueblo Argentino [The Argentine People], a bimonthly magazine. He also taught a course on aesthetics at the School of Architecture, where he lectured on “The Defense of Realism” in December 1944. Raúl Lozza, the Argentine artist, was born in 1911 in Alberti, in the Province of Buenos Aires. He was one of the Argentine vanguardists of the 1940s, a member of the Arte Concreto — Invención Association, and was involved in the Perceptivist group that explored the concept of working directly on the background wall. This particular document has been chosen because it chronicles the ideas that were advocated by followers of the aesthetics of realism. This essay was refuted by Raúl Lozza in the 4th issue of Contrapunto.