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.
Luis Felipe Noé writes a letter directed to the viewer containing ironic commentary on exhibition catalogs. He supports art as a permanent adventure in revelation and man as the instrument of new quests. Noé proposes “chaos” as the only truth of today, that is “chaos as structure”; the “multiplicity and opposition of stimuli”; the “broken vision” and the “rupture of unity”. The motive of the letter is to invite other painters to place potential value in art as experience.
Luis Felipe Noé (Buenos Aires, 1933) began his studies with the painter Horacio Butler at the beginning of the 1950s, mounting his first exhibition in 1959. In 1961 he had a group exhibition as Otra Figuración [Another Figuration] at the Galería Peuser in conjunction with Ernesto Deira, Rómulo Macció and Jorge de la Vega. The group exhibited together until 1965. Noé stood out among the group due to his theoretical reflections on art in contemporary society. Among his central tenets was the idea of “chaos as structure” of an artwork. Notable among his publications are Antiestética [Anti-aesthetic] (Buenos Aires: Editorial Van Riel, 1965) and Una sociedad colonial avanzada [An Advanced Colonial Society] (Buenos Aires: Editorial La Flor, 1971).
In 1965 Noé obtained a Guggenheim fellowship and moved to New York, a city he had visited the previous year during a key moment in his elaboration of the concept “chaos as structure,” in an artwork that is seminal to his concept of the pictorial. In this exhibition, paintings produced by Noé working in conjunction with other artists from various trends of the 1960s are presented. During this exhibition his previously mentioned book, Antiestética was presented.