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 article includes two letters from Romualdo Brughetti and another from Enio Iommi, addressed to Blanca Stábile for its publication in the section “Dialogue with Our Readers.” In addition, a letter from Stábile addressed to Aldo Pellegrini, in which he clears up an erroneous reference to Tomás Maldonado as having formed the Grupo de Artistas Modernos de la Argentina [The Modern Artists Group of Argentina], which, in fact, Pellegrini organized.
The magazine Ver y estimar [To See and Ponder] was an editorial project directed by Jorge Romero Brest (190589) with the collaboration of a group of disciples, who had come out of art history courses he taught, after having lost his post as professor by the official authorities during the government of Juan Domingo Perón (1895–1974). This editorial project stimulated critical thought and disseminated the renewal of artistic languages, as it related to the modernizing perspective affirmed by its director. Between April 1948 and December 1953, thirty issues of the magazine were circulated. After several months of interruption, ten issues were published during the second period, which ended in October 1955. The editor-in-chief was Damián Carlos Bayón (1915–1995). Blanca Stábile (1911–91) wrote art criticism and was a member of the editorial group at the magazine Ver y estimar. Beginning in 1958, Stábile took over the Dirección Nacional de Seguridad y Protección Social de la Mujer [National Administration for the Women’s Security and Social Protection], in the Ministerio de Trabajo y Seguridad Social [Ministry of Work and Social Security] and, later, was Argentinean ambassador to the United Nations (UN). Enio Iommi is an Argentinean artist, born in 1926 in Rosario, Santa Fe Province. He was one of the founding member of the Asociación Arte Concreto — Invención [Concrete Art and Invention Association], was a member of the Grupo de Artistas Modernos de la Argentina, and, in 1977, held an exhibition entitled Adiós a una época [Goodbye to an Era], which marked a profound change in her poetics. Romualdo Brughetti was a critic, essayist, and poet born in La Plata in 1912. He studied law and humanities; he was a professor of art history and a contributor to the publications El Hogar [The Home], Saber Vivir [To Know How to Live], Correo Literario [Literary Mail], Criterio [Criterion], and La Nación [The Nation]. He directed the collection of Argentinean art for the publisher Peuser and published the books Descontento creador [Creative Discontent], Afirmación de una conciencia argentina [Affirmation of an Argentinean Consciousness], Prometeo [Prometheus], El espíritu que no cesa [The Unending Spirit], Nueva historia de la pintura y de la escultura en la Argentina [New Historia of Painting and Sculpture in Argentina], and Pintura italiana del siglo XX [Twentieth Century Italian Painting]. The Grupo de Artistas Modernos de la Argentina (GAMA) [The Modern Artists Group of Argentina] comprised the Concrete artists Claudio Girola, Alfredo Hlito, Enio Iommi, Tomás Maldonado, and Lidy Prati, as well as the independent artists Hans Aebi, José Antonio Fernández Muro, Sarah Grilo and Miguel Ocampo; the group was active between 1952 and 1955. Aldo Pellegrini (Rosario 1903–Buenos Aires 1973) was a poet, playwright, essayist, and art critic who made an extraordinary impact on the Argentinean cultural scene. Linked from the very beginning to the development of surrealism, he directed various editorial projects. In addition, Pellegrini supported and disseminated the diverse aspects of abstract art, promoting several groups such as Artistas Modernos de la Argentina and the Asociación Arte Nuevo [New Art Association]. This document has been selected because it shows the commitment to dialogue within the editorial group of the magazine. Likewise, the interest that emerged in a historic construction of Argentinean Concrete art that incorporates the opinions of different actors involved and recognizes the importance of Pellegrini’s role in the promotion of the Grupo de Artistas Modernos de la Argentina (GAMA).