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 points out that given the quantity of new artists shown each time at the Salón de Primavera [Spring Salon], two sections can be distinguished. The first and most numerous is comprised of works absolutely devoid of aesthetic appeal—for this reason no reference will be made to them. And the second one at whose core the works of Aquiles Badi, Horacio Butler, and Héctor Basaldúa are included. Regarding these nuclei,“in a span of a few years other artists of quite different sensibility have been presented; yet in their works a common aspiration can easily be detected, making it possible to group them with those others.” In this way, after pointing out the poor quality of the sculptural works, the author analyzes the works of those three mentioned as well as Juan Del Prete, Víctor Pisarro, Antonio Berni and Lino Enea Spilimbergo.
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. In this document Prebisch highlights those artists who later will be known as the “Paris Group”: artists who travel to Europe since 1922. Generally, they developed an expressive vocabulary that corresponded with the “return to order” aesthetics. In spite of it all, they were identified as avant-garde artists given their works questioned ancillary works to Impressionism; colorful works with rich impastos, somewhat common during the 1920s Argentina.