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 article by Esteban Dalid (also known as Elías Piterbarg) is mentioned in the text “Pequeño esfuerzo de justificación colectiva” [Small Effort by Collective Justification] (which is found in the same issue of this journal) as a broadening of the principles set forth there. In this manner, he states a series of postulates that can be understood as contrary, and/or at least conflictive, to the established norms of social conduct.
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.