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 wrote the introduction for his exhibition at the Galería Pizarro. He mentioned “1954” as the inception of his work with collages created with extra-pictorial materials. Kemble analyzed, as well, the use of tin and rusty metals, inspired by humble housing, as a statement of beauty in those urban landscapes and of the artist’s creative freedom to use that matter. He stressed the difficulty these innovative artworks faced in their reception taking into account that critics of important newspapers ignore how to appreciate a painting.
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 for the English community in the capital, founded in 1876) between 1960 and 1963. Afterward, he continued his written reflections, with an emphasis on the theory of creative process.
In this exhibition, shown at the Galería Pizarro in 1961, Kemble exhibited collages, assemblages, and oil paintings; among these, the most outstanding was Relieves en blanco [Blank Relieves] produced with bed sheets. This exhibition is a follow-up of the proposal shown the previous year at Galería Lirolay (see documents “Cuadros y exposiciones: óleos y collages de Kemble” record 741632 and "Kenneth Kemble: collages y oleos” record 741606). The foreword, written by the artist himself, came out in defense of his production and attacked the art critics’ lack of understanding of the same. This was the beginning of a key year in Kemble’s career; at that time, the collective experience of destructive art was a key point. (see documents "Fundamentos de una estética de la Destrucción" record 741492; “Artes plásticas: Kenneth Kemble” record 741643; “Artistas y exposiciones: la singular exposición de arte destructivo” record 741878; “Destruction is new art form: seven Argentines wreck their way to creativity” record 741863,among others).