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.
The authors—architects Ernesto Vautier and Alberto Prebisch—state that “regarding the program proposed…[to them] by the Commission of Fine Arts of La Plata, …[they have] proceeded to reasonably consider the need for a museum of modern art”. In this manner, the architects describe their proposals for lighting in the exhibition halls and for construction materials, emphasizing the benefits resulting from such decision. Lastly, they both maintain that the mentioned project is based “on the path, that with such eloquence…is pointed by the works, whose clearly utilitarian nature marks an original direction for architecture at that time.”
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.The architects Ernesto Vautier (1899–1989) and Alberto Horacio Prebisch (1899–1970) completed their training in France. Upon their return to Argentina in 1924, they disseminated Le Corbusier’s concepts of modern architecture and were intimately connected with the Martín Fierro journal, where Prebisch also contributed visual arts criticism. Neither in the city of Buenos Aires, nor in La Plata (capital of the province of Buenos Aires), did a museum exist specifically constructed as such. In this sense, the facilities built to meet such ends presented huge functional problems.