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 manifesto was distributed at the opening of the Salón Nacional [National Salon] in 1942, in which four fine arts students stood in opposition to the institution and identified their adversaries as the “picapedreros” [the stonemasons]. In the pamphlet they questioned the orientation the institution sought to impose on teaching in the arts, including the mediocre prizewinners and the “vanguardistas” who were members of the jury that awarded prizes.
The manifesto was signed by Jorge Brito, Claudio Girola, Tomás Maldonado and Alfredo Hlito, who in 1942 were first year students at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Tomás Maldonado was an intellectual, painter and designer born in Buenos Aires in 1922. In 1945 he became one of the founders of the painters’ movement known as the Asociación Arte Concreto — Invención [Concrete Art and Invention Association]; in 1954 he settled in Germany where he was a professor at the Hochschule für Gestaltung [Ulm School of Design]. He later served as director of the institution. Alfredo Hlito (1923-93) was born in Rosario (Argentina) who died in Chile where he produced his work. He was cofounder of the Asociación Arte Concreto — Invención. His work later moved away from the rigor of concrete art, so that he could produce a series he called Iconostasis. Claudio Girola (1923-94) was born in Rosario and died in Chile where most of his work was produced. He was one of the founding members of the Asociación Arte Concreto — Invención; in 1949 he traveled to Europe where he connected with Georges Vantongerloo and the concrete art movement of Milan. Later he moved to Chile where he became a founding member of the School of Architecture at the Universidad Católica in Valparaíso. There, and linked to the Ameeida group, he developed his art and worked as a teacher until the end of his life. This document was selected because it bears witness to the act of rebellion (of these four young students) on the opening day of the Salón Nacional, at which “El pintor y la modelo” [The Painter and the Model] by Raúl Mazza who by the way won the grand prize; Mazza was then a professor at the institution.