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.
This document relates the response of artist Miguel Ocampo to the survey sponsored by Letra y Línea [Letter and Line], in which he states that research and communication are fundamental to painting. Given that Ocampo considers painting the “desire for discovery,” he believes that to know where painting might be headed would be boring because art is always an adventure.
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 (1906-1972), 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. Miguel Ocampo is an Argentinean artist who was born in 1922. He studied architecture and also became a frequent visitor to Vicente Puig’s workshop. In the 1950s he joined the Grupo de Artistas Modernos de la Argentina [Modern Artists Group of Argentina]. After his abstract work, Ocampo became interested in developing an individual interpretation of landscape painting. 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.