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.
The anonymous writer of this article believed that the first year of the Instituto de Arte Moderno [Modern Art Institute] (1949) yielded negligible results because its directors lacked aesthetic standards and background. In the writer’s opinion, the Institute, run by Marcelo De Ridder, not only lacked direction; it even worsened the disorientation of the art milieu in Argentina. The writer also contended that all the Institute did for the country was introduce Eurocentric snobbery, supporting exhibitions of third-rate European painters who represented decadent trends.
Continente was a monthly magazine of the arts, letters, sciences, humor, interesting facts, and short articles of general interest that circulated between April 1947 and December 1955 in Argentina. Published during the first administration of Juan Domingo Perón, this journal was considered the “Decálogo del peronismo” [Ten Commandments of the Perón era]. The cultural policy of Perón’s government was opposed to Abstract works—mainly expressed through attacks by Minister of Education Oscar Ivanissevich—in exhibitions held at the National Salons in 1948–49. Nevertheless, Abstract works were included in some of the exhibitions that represented Argentina abroad.Marcelo De Ridder (1923-73) was a founding father of the Instituto de Arte Moderno was founded in 1949 for the purpose of preserving and stimulating the development of artistic culture. Although its program was eclectic, it was an important space for the dissemination of abstract art, especially evident in its schedule of exhibitions. Exhibitions included: Arte abstracto, del arte figurativo al arte abstracto (1949) [Abstract Art, from Figurative to Abstract Art]; Exposición Arte Concreto: Pinturas / Esculturas / Dibujos (1950) [Concrete Art Exhibition: Paintings / Sculptures / Drawings]; and Joaquín Torres García: pinturas (1951) [Joaquín Torres García: Paintings].This source was selected as one of the voices of opposition to both the Instituto de Arte Moderno and its promoter, Marcelo De Ridder. It also takes a position against the development of modern art in general and Abstract art in particular.