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.
With this essay, Mathias Goeritz introduces the Art Section of the magazine Arquitectura México. In this first “Warning,” the author affirms that once visual education and abstract design are officially accepted, no “avant-garde” will exist. What then remains for the 20th century artists is to search not only for originality in their personal styles, but also to widen and deepen their aesthetic concoctions with transcendental aims. In other words, with an ethic basis which will influence life, architecture, industry, science, philosophy and, in a word, the future. Goeritz promises to present in future issues of the Art Section the diverse artistic attempts and searches that may appear in order to find “a new man.”
As an art promoter of his time and through the magazine directed by the architect Mario Pani, Mathias Goeritz (1915-1990) presents his philosophical reflections and aesthetic positions about contemporary art. In addition the magazine will allow the introduction of new currents in the visual arts through essays by critics and artists committed to those new approaches. This is the first essay of the Art Section he would be in charge of from 1959 through 1978. This essay was later published in Excelsior’s magazine Plural, (Mexico City, 2nd period, Volumes XIX-XXII, no. 228, September 1990), 77, as well as in the Revista de la Escuela Nacional de Artes Plásticas de la UNAM (Mexico City, Volume 3, no. 13/14, Winter of 1991-1992), 79-80. Also in the book by Graciela Kartofel, Mathias Goeritz: Un artista plural. Ideas y dibujos, (Mexico City: Dirección General de Publicaciones del Consejo Nacional para la Cultura y las Artes, 1992), 52-53.