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 reviewed the recent exhibitions held by the Grupo de Artistas Modernos de la Argentina [Modern Argentine Artists Group] at the Museu de Arte Moderna in Río de Janeiro and the Stedelijk Museum in Amsterdam. Both the international impact of the group and the welcome it received in the two cities were news items featured in this text. The exhibitions held in both cities—which included the guest artists Rafael Onetto and Clorindo Testa—were evidence of the maturity achieved by Argentine artists in terms of both Abstract and Concrete art.
The journal, nueva visión [new vision], designed as a space for redefining and disseminating Concrete art, produced nine issues between December 1951 and 1957. Edited by Tomás Maldonado, it also had an editorial committee whose members came and went over the years. Participants included: Carlos Méndez Mosquera, Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito, Horacio Baliero (an architect), and Edgar Bayley.The Grupo de Artistas Modernos de la Argentina (GAMA) was made up of the concrete artists, Tomás Maldonado (born 1922), Alfredo Hlito (1923–93), Lidy Prati, Claudio Girola (1923–94), and Enio [Girola] Iommi (b. 1926). It also included the independent abstract artists, Miguel Ocampo, Antonio Fernández Muro, and Sarah Grilo. The group was active between 1952 and 1955. In the GAMA exhibitions held in Río de Janeiro and Amsterdam, there were also works contributed by Rafael Onetto and Clorindo Testa.This article was chosen for its value as a document related to exhibitions of the Grupo de Artistas Modernos de la Argentina, especially those held in Río de Janeiro and Amsterdam. As reflected in the text, these exhibitions were an opportunity to establish the international contacts the artists wanted for disseminating Argentine Abstract art.