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.
Kenneth Kemble is caustic in his article about the group exhibition involving Otra Figuración [Other Figuration] carried out by the Galería Peuser. Ironically, he proposes a game of counting heads amongst the paint spills, adding that children shouldn’t be allowed admission, due to the horrific view of humanity presented by these artists. According to his opinion, neither are these paintings capable of being appreciated in a rational manner.
Kenneth Kemble (Buenos Aires, 1923–1998) was one of the main artists of the Informalist movement in Argentina. Beginning in 1956, he experimented with collages, assemblages, reliefs, and informal and sign painting. Kemble participated in the exhibitions of the Asociación Arte Nuevo [New Art Association], a bastion of abstract trends. In 1959, he was part of the exhibition Movimiento Informal [Informalist Movement] at the Van Riel Gallery. In 1961, Kemble was the driving force behind the exhibition that presented arte destructivo [destructive art]. He practiced art criticism, mainly at the Buenos Aires Herald (a newspaper founded in 1876 for the English community in the capital) between 1960 and 1963. In the following decades, he continued his written reflections with an emphasis on the theory of the creative process.
This document takes part of his series of art critiques published in the Buenos Aires Herald, presenting a solid, interpretive view of Argentinean art of the early 1960s. In his news articles, Kemble was attentive to both the emergence of a new generation of artists as well as vanguardist expressions, Insofar as the informalist trend followers were being consolidated among others. the Instituto Di Tella first shows took place, the Otra Figuración [Another Figuration] and Pop Art appeared, in addition to the emergence of a new type of collector.
Within the collection of reviews, this document is relevant as an extraordinary example of Kenneth Kemble’s irony; even more so, when it is directed at the artists of Otra Figuración [Other Figuration] (Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, and Ernesto Deira). He considers these works to demand irrational appreciation; an interesting take, given that during the time Kemble was writing this, he was conceptualizing the idea of a creative destruction in art.