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 article notes that Alfredo Hlito—who was secretary to the director of nueva visión [New Vision] magazine at that time—was awarded a prize at the Second São Paulo Biennial in Brazil. The writer suggests that this was not just a well-deserved recognition of Hlito’s work, albeit proof of the level of the Argentine artists attending an international event of this nature that showcased the most outstanding artists from almost every country in the world.
The magazine nueva visión [New Vision] was created as a space where Concrete Art could be redefined and discussed for the benefit of its readers; it was published nine times between December 1951 and 1957. Tomás Maldonado was the Director. Over the years, the editorial board included, in various combinations: Carlos Méndez Mosquera, Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E., J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito, Horacio Baliero, the architect, and Edgar Bayley.
Edgar Bayley was the name used by Edgar Maldonado Bayley, the Argentine poet who was born in 1919 and died in 1990. He was a cofounder of Arturo [Arthur] magazine in 1944, becoming also a founding member of the Asociación Arte Concreto — Invención, and a member of the Poesía Buenos Aires group, having published several books of poems, stories, and essays.
Alfredo Hlito was an Argentine artist, born in 1923. He wrote a number of theoretical essays, and was involved in both the Asociación Arte Concreto — Invención and the Grupo de Artistas Modernos de la Argentina. The forms and textures of his later work marked a departure from the field of Concrete Art. He lived in Mexico City from 1963 to 1973, and died in Buenos Aires in 1993.
This article was chosen for two reasons; on the one hand it documents the prize awarded to Hlito, and on the other it shows how much importance the editorial group (mentioned above) attached to the implicit international recognition of Argentine Concrete Art.