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 offers a justification for the hiatus of La Campaña de Palo [The Wooden Bell], from its sixth issue of December 1925 up to its reappearance beginning precisely with this issue (September 1926). At the same time, Atalaya, the editor-in-chief specifies the position that the publication will maintain, while emphasizing the deeds of the editorial staff during the interruption (the publication of two books, among them). He also emphasizes its connection to another magazine Acción de Arte [Art Action].
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 constituted one of the broadcasting organs for anarchist ideas of the group headed by Alfredo Chiabra-Acosta, also known by the pseudonym Atalaya, or At.Atalaya and Carlos Giambiagiserved as editors for Acción de Arte (1920–22), as well as La Campana de Palo. Many of the contributors to the former magazine also served as writers for the latter. [The magazine] clearly took a combative stance with regard to the reigning paradigm in the Argentinean art milieu of the 1920s.