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The (anonymous) critic sets forth the relationship between technique and popularization, both in its materials and in its art market value. He even mentions the process in the series by León Ferrari (Planta, Ciudad, Kamasutra, [Floor Plant, City, Kamasutra] made with unconventional supports for artistic creation, such as paper copies in blue prints. He notes both the humor in the graphic arts of Ferrari as well as in the invention of sculptures as musical instruments, and the insertion of the artist in the artistic milieu of the city of São Paulo, too.
León Ferrari (Buenos Aires, 1920–2013), son of the artist and architect Augusto César Ferrari, began later in life to dedicate himself to visual arts. This allowed him to serve as a bridge between the late-1950s artist generation and the young vanguard of the 1960s. His first works were ceramic sculptures; then, León experimented with wire structures, visual writing, and collages. What stood out from his work were two branches: a political line that strongly condemned military dictatorships, American imperialism, and Catholic Church ideology, as well as an Informalist approach to conceptual drawing or even within the Surrealist tradition. His 1965 object-montage, titled Civilización Occidental y Cristiana [Western Christian Civilization], was censured at the Centro de Artes Visuales del Instituto Torcuato Di Tella [the Torcuato Di Tella Institute’s Visual Arts Center] (see documents 743800, 744085, and 761879). Ferrari participated intensely in the 1960s events of political conceptualism (in particular, at the event Tucumán Arde [Tucumán Is Burning], 1968). In response to the most recent Argentine military dictatorship’s repressive regime (1975-83), he went into exile in Brazil, where he explored a variety of ideas, such as formalism and the reproducibility of a work, as well as the spatial relationship between sculpture and music (see documents 743960, 744392, and 743870, among others). Since 1984, he has exhibited again in Buenos Aires, where Ferrari again established himself definitely.
In 1981, Ferrari presents the exhibition Heliografia [Blueprints] at Pinacoteca do Estado de São Paulo from April 7 to May 3.
File clipping; its page number is not preserved.