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.
In view of the results of the Segunda Bienal Interamericana de México [Second Inter- American Biennial of Mexico]that took place in the Palacio de Bellas Artes, Mathias Goeritz’s opinion is that if what is being exhibited has something to do with art, “then, down with art!” The paintings and sculptures selected, he affirms, are “none other than the desecration of the corpse of true art.” He makes the public, the artists, and the critics responsible for the spiritual misery of art. Goeritz defines the total victory of the critic over the artist as a phenomenon of our times. The critics, art historians, directors of museums, and intellectuals, are those who manipulate and decide which works or artistic movements should prevail, to then turn them into an “OFFICIAL FAD.” In Goeritz’s opinion, Alfred Barr Jr., the first director of MoMA in New York, the critics Jean Cassou, Hill Grohmann, Herbert Reed, and Jorge Romero Brest, are prestigious personalities who “deserve to be definitively condemned for their vanity and short-sightedness.” Goeritz maintains that, fortunately, within a hundred years nobody will remember them or all of that minor art in fashion. He consequently introduces Facteur Chaval, Juan O’Gorman and Pedro Friedeberg, who are NOT fancy.
What is noteworthy in this issue of the Sección de Arte [Art Section], of which Mathias Goeritz (1915-1990) was in charge, is not only the presentation—in the form of a Warning—that Goeritz uses to make. What stands out is the article in which Paul Damaz writes a “Page dedicated to Facteur Chaval.” Ferdinand Chaval was a French mailman who dedicated 33 years of his life to the construction of “The Ideal Palace,” a building that integrated architecture, sculpture, painting, mosaics, and poetry. As a transition, Damaz presents two of his own photographs of Juan O’Gorman´s (1905-1982) private home. Damaz includes them in Goeritz’s essay about the Mexican painter and architect. To conclude, Ida Rodríguez [Prampolini] introduces Pedro Friedeberg as a possible artistic promise for the near future, illustrating her article with some projects-drawings of the young artist and architect.