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.
Alberto Prebisch notes that both poetic ambition and lyrical tendency offer “a clear differential outline” to literature and the contemporary art. To exemplify these features within the visual arts he analyzes a work by Norah Borges.
Martín Fierro (1924–27) played a major role in the great proliferation of avant-garde journals published in Argentina, more specifically in the 1920s Buenos Aires. Evar Méndez led it, though throughout 1925, Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also took part in its administration. Among the participants were key Argentinian writers such as Girondo, Ricardo Molinari, Leopoldo Marechal and Jorge Luis Borges, among others; as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased publication when, preceding the presidential candidacy of Hipólito Yrigoyen, the core group was divided between those who supported the magazine assuming a political stance and those who did not. This internal bickering continued until the publication’s end. It is important to recognize that Martín Fierro was seen in its time as a key fixture of the Avant-garde in Argentina.Alberto Horacio Prebisch (1899–1970), Argentinean architect that completed his training in France. Upon his return to Argentina in 1924, he disseminated the principles of Modern architecture, particularly those proposed by Le Corbusier. As an art critic in the Martín Fierro publication, he advocated for a “retour à l’ordre” [return to order] aesthetics in the visual arts field. Since 1924 and after the abandonment of a “breaking” visual image tied to the Expressionist poetic, Norah Borges (1901–98) leaned toward a “return to order” aesthetics. During the 1920s, she was one of the protagonists, along with Pettoruti and Xul Solar, involved with Argentina’s expressive renewal.