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.
Esteban Dalid’s article defines the character and the position of the publication in the face of the prevailing cultural and social milieu. In this way, he is demanding rebellion against reality, against “every form of established living,” against all situations of conformity, while simultaneously placing upon himself the task of “promoting [these] changes.”
Qué (Revista de interrogantes) was the first manifestation of Surrealism in Argentina, as well as the first in Latin America. Led by Aldo Pellegrini and Elías Piterbarg, it only put out 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 on account of the long period between its only two editions, and because the second one appeared after the 1930 coup that removed President Hipólito Yrigoyen from office. This publication is significant because Surrealism did not have any significant repercussions in Argentina until the end of the twenties and the start of the 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), constituting two key milestones. In Qué (Revista de interrogantes), the participants were Elías Piterbarg (under the pseudonyms “Esteban Dalid” and “Felipe Debernardi”), Aldo Pellegrini (under the pseudonym “Adolfo Este”), Mariano Cassano (under the pseudonym “Julio Laureha”), Ismael Piterbarg (under the pseudonym “Raúl Pombo”), and David Sussman (under the pseudonym “Julio Trizzi”). Pellegrini (1903-1973) 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.