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 artist Demetrio Urruchúa writes an art critique of the National Salon, an annual show of Argentinean art. He believes it to be an expression of art’s decadence. Among his commentaries, he emphasizes his negative view of the work of Lino Enea Spilimbergo, whom he defines as a local follower of the Mexican artist David Alfaro Siqueiros. From a libertarian perspective, Urruchúa opposes the proletarian art promoted by the realists whom he considers quite close to Communism; he maintains that, in its fullest sense, art is the free expression of man.
Demetrio Urruchúa analyzed the National Salon, which had devotedly sanctioned the work of Lino Enea Spilimbergo, within the context of David Alfaro Siqueiros’s visit to Buenos Aires. This exhibition was also analyzed by Siqueiros in the pages of Crítica [Critique]. (See document 763426.)
Demetrio Urruchúa (1902–1978) was a writer and illustrator for Nervio [Nerve], a libertarian socialist publication; he also considered himself a socially engaged painter who defended art as the free expression of man. Here, Urruchúa stressed his negative view of Spilimbergo’s work. He considered Spilimbergo a follower of Siqueiros, who expressed the ideological clash between Communism and anarchism within the arts. Nevertheless, one decade after the controversy, in 1944, both artists gathered together with Antonio Berni (1905–1981), Juan Carlos Castagnino (1908–1972) and Colemiro, in order to create the Taller de Arte Mural [Mural Art Workshop].