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.
Tomás Maldonado responds to the Letra y Línea [Letter and Line] survey by stressing that the cultural validity of a work is realized by means of new artistic ideas. He goes on to clarify that the concept of “artistic ideas” does not refer to any notions about art, rather it refers to those concepts defined by an intellectual stance toward the creative process.
Letra y Línea. Revista de cultura contemporánea. Artes plásticas. Literatura. Teatro. Cine. Música. Crítica. [Letter and Line. Magazine of Contemporary Culture. Visual Arts. Literature. Drama. Cinema. Music. Criticism] was a contemporary culture publication edited by Aldo Pellegrini (1903-1973) whose four issues appeared between October 1953 and July 1954. Its collaborators included Edgar Bayley (1919-1990), Osvaldo Svanascini (1920), Oliverio Girondo (1891-1967), Mario Trejo (1926), Enrique Molina (1910-1997), Juan Carlos Paz (1897-1972), and Norah Lange (1906-72), among many others. The survey’s agenda was based on the following questions: 1) What is the fundamental nature of painting in your opinion?; 2) Where is modern painting headed?; 3) Is there such a thing as Argentinean painting?; 4) Do you believe in the previous generation? Tomás Maldonado (1922), Sarah Grilo (1921-2007), José Manuel Moraña (1917-2005), Fernández Muro (1920), Juan Cerdá Carretero, Ideal Sánchez (1916-1988), Lidy Prati (1921), Víctor Magariños “D” (1924-1993), and Miguel Ocampo (1922) responded to the survey.Tomás Maldonado is an intellectual, painter, and designer who was born in Buenos Aires in 1922. In 1945 he became a founding member of the painters’ movement known as the Asociación de Arte Concreto-Invención [Concrete Art and Invention Association] and, in 1954, he moved to Germany where he became a professor as the Hochschule für Gestaltung [School of Advanced Studies in Form], in Ulm, an institution he later directed.This article was selected because it documents a young artist’s opinion regarding the debates that were then mobilizing the Argentinean artistic field at the moment abstraction was being consolidated.