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.
Based on the exhibition held by painter Américo Panozzi, as well as the reception it enjoyed from the art critics, Atalaya denounces Panozzi’s methods as harmful to the development of young painters. Atalaya describes the “the frequent phenomenon” among the “national critics” to wield superlatives and baseless accolades without a thorough interpretation of the artworks. In this way, the author—appealing to the truth—advances the analysis of Panozzi’s production, which he finds superficial with regard to technique and without any strength of composition, as well as decorative and picturesque.
La Campana de Palo [The Wooden Bell] published its first six editions between June and December 1925. Following a time in which the journal was not published, it reappeared in September 1926 with a contiguous enumeration, although using a different format and with the subtitle Periódico Mensual. Bellas Artes y Polémica [Monthly Journal: Fine Arts and Controversy]. In this second phase that lasted until September–October 1927, eleven issues were published.
La Campana de Palo was one of the main publications for the dissemination of the ideas belonging to the anarchist group led by Alfredo Chiabra-Acosta, also known by the pseudonym Atalaya, or At.