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 continues the controversy between Leónidas Barletta and Juan Carlos Paz regarding the music of Swiss composer Arthur Honegger, which had debuted in Buenos Aires under the conductor Ernest Ansermet, of the Suisse Romande orchestra. The debate unfolded in the pages of Revista del Pueblo [The People’s Magazine] (no. 8) as well as in La Campana de Palo [The Wooden Bell] (no. 15). Barletta responds to the most recent article in Claridad [Clarity] journal; Juan Carlos Paz rejoins in this text from La Campana de Palo. Within this bickering, two dissimilar positions can be discerned with respect to the function and place that art should hold within the societal context.
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.