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.
Hugo Parpagnoli introduced, with a brief text, the exhibition of the group Otra Figuración [Another Figuration] as the birth of a new language. Parpagnoli held that Otra Figuración assumed chaos—a key concept according to the theory of Noé, one of its members—in order to reveal it and by doing so, shattered the patterns of representation of living forms.
Hugo Parpagnoli was an art critic of the journal La Prensa and collaborator of the literary journal Sur. Carrying on with Rafael Squirru’s task of establishing a foundation, he was, as well, director of the Museo de Arte Moderno de Buenos Aires during the 1960s. Among one of his notable curatorships was the 1964 exhibition on Argentinean art that took place at the Pepsi-Cola building in New York.
Ernesto Deira (1928–1986), Romulo Macció (1931), Luis Felipe Noé (1933), and Jorge de la Vega (1930–1971) were members of the group Otra Figuración [Another Figuration], also known as Nueva Figuración [New Figuration]. In the first group exhibition (1961), Carolina Muchnick and Sameer Makarius (El Cairo, 1925) participated, too. At the end of that year until 1962, they settled as a group in France, and remained active until 1965.
This document is relevant because the Galería Bonino’s exhibition by the artists from Otra Figuración, following their return from Paris, was of the most importance. Concerning the group, it shows a moment of huge consequence; moreover, Parpagnoli used in his article some terms that subsequently would become habitual in Noé’s thinking, such as that of “chaos.”