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 presents the works he created since 1956. He explains the collage from his point of view. arguing that the search for experimentation with application of new materials is fundamental in the new visual arts. Unlike the surrealist process, Kemble sees the current collage related to both Brutalist art and to Informalism, carrying in his opinion, a relatively conscious expressive value.
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 exhibition—presented by Galería Lirolay, under direction of Germaine Derbecq (French art critic married to Pablo Curatella Manes)—was Kenneth Kemble’s second solo exhibition in 1960. It was sponsored by the Museo de Arte Moderno, whose director was Rafael Squirru. Not having its own venue, the museum organized and sponsored its exhibitions at various galleries. Kemble exhibits collages and oil paintings produced since 1956, along with a presentation by the artist himself.
This document is important to understand his ideas on Informalist collage and its distinction from the surrealist tradition. This moment is pivotal to Kemble’s production of both reliefs and suburban landscapes through the exploration of matter and extra artistic elements.