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.
The critic Ernesto Schóo points out the significant texts on Informal Art up to that time. Schóo undercores the contradictions between the authors’ concepts, for which art is defined by formal will, spurring Schóo to criticize the term “informalism.” He also analyzes the common points of the various critics; for example, the concept of “another art,” the validity and spiritualization of the material itself, and the dangers of ornamentation and indeterminacy, as well as irrationality.
Ernesto Schóo (Buenos Aires, 1925)—a cultural critic who was particularly involved in the areas of literature and theatre—was a contributor to the newspaper La Nación in Buenos Aires and La Gaceta de Tucumán, as well as a renowned translator of the works of Héctor Bianciotti. Among his recent books are Pasiones recobradas [Recovering Passion] (Buenos Aires: Editorial Sudamericana, 1997) and his memoirs titled Cuadernos de la sombra [The Shadow Notebooks] (Buenos Aires: Editorial Sudamericana, 2001). This document is of interest in order to understand local discussions about Informalism, which had a major impact on the Buenos Aires art milieu in the late 1950s with the work of Alberto Greco, Enrique Barilari, Kenneth Kemble, and Luis Alberto Wells, among others. The movement’s initial impact stemmed from the 1959 exhibitions under the name Movimiento informalista, so that the trend continued to gain momentum in the early 1960s.