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.
In this introductory text for the Noemí Gerstein exhibition, Pellegrini points out that Gerstein’s sculpture not only aspires to develop volume within space, it also seeks to create a surface of pictorial quality. The critic’s analysis places the sculptor’s work into periods, emphasizing its key moment, around 1959, when Gerstein created groupings of vertical and horizontal lines that, despite their abstraction, maintain a mysterious air of solemnity.
Aldo Pellegrini (Rosario 1903–Buenos Aires 1973) was a distinguished poet, playwright, essayist, and art critic within Argentinean cultural circles. From the beginning he was linked to the development of Surrealism and he also directed various publishing projects. Pelligrini also supported and publicized various aspects of Abstract art, promoting some groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and Asociación Arte Nuevo [New Art Association].
Noemí Gerstein (1908–1996) was an Argentinean sculptor and disciple of Alfredo Bigatti. She experimented with new materials within the framework of abstraction. In 1952, she participated in the competition for the Unknown Political Prisoner Monument organized by the Institute of Contemporary Art in London.
The exhibition Gerstein: esculturas [Gerstein: Sculptures] was held at Art Gallery in Buenos Aires, July 28-August 16, 1969, in conjunction with Art Gallery International.
This article was selected not only because it documents Pellegrini’s judgment regarding Gerstein’s use of space and the intrinsic character of her work, but also because it considers the trajectory of her work by discerning its different stages.