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 article’s objective is to introduce the publication’s character and explain the reason for its production: it claims “to seek in expression evidence” of the subject’s “hidden structure”; yearns “perhaps also like an irresistible need to think aloud”; proposes to rebuff the idea of a destiny to which man must resign himself, and as counterpoint, wishes to contemplate “with sympathy all aspects of either voluntary or involuntary freedom,” like for example, illness, insanity, and crime, among others. Also in the article, the significance of the journal’s name is explained as being the “first and maximum interrogation, bare from grammatical ornamentation, [and] reduced to its pure verbal essence.”
Qué (Revista de interrogantes) [What? A Magazine of Question Marks]was the first manifestation of Surrealism in Argentina, as well as in Latin America. Led by Aldo Pellegrini and Elías Piterbarg, it issued only two editions, the first in November 1928 and the second in December 1930. In its day, the publication did not have much importance; it seemed that this was because of the long period between its only two editions, and because the second one appeared after the 1930 coup d’état that removed President Hipólito Yrigoyen from office. This publication is significant because Surrealism did not have any major repercussions in Argentina until the end of the 1920s and the early following decade. In this sense, Qué (Revista de interrogantes) and the work of Antonio Berni are seen as belonging to the Surrealist cycle (presented in Buenos Aires in 1932), thus constituting two key milestones.The contributors to the magazine Qué (Revista de interrogantes) were Elías Piterbarg (also known as “Esteban Dalid” and “Felipe Debernardi”), Aldo Pellegrini (also known as. “Adolfo Este”), and also writing under pseudomyms: Mariano Cassano (“Julio Laureha”), Ismael Piterbarg (“Raúl Pombo”), and David Sussman (“Julio Trizzi”). Furthermore, Pellegrini (1903–73) later became one of the most important critics of the arts in Argentina. In 1967, he was the organizer of the exhibition Surrealismo en la Argentina.