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 introductory text for works by Alfredo Hlito emphasizes how the artist expanded their sensory territory while not abandoning the notion of purely visual painting. Pellegrini also points out that Hlito’s works also divide space into planes in a manner similar to analytical Cubism. Moreover, Pellegrini states that Hlito colors his works with vibrant touches reminiscent of the Impressionists: a synthesis that does not fall into the quiescence of Cubist Constructivism and that is set off by the subtlety of the monochromatic hues.
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 the Asociación Arte Nuevo [New Art Association].
Born in 1923, Alfredo Hlito was an Argentinean artist who wrote numerous theoretical texts and was a member of the Asociación Arte Concreto - Invención [The Concrete Art and Invention Association] and the Grupo de Artistas Modernos de la Argentina [Modern Artists Group of Argentina]. Later on, his works incorporated forms and textures that diverged from the concrete approach. Between 1963 and 1973, he lived in Mexico City, and died in Buenos Aires in 1993.
The Hlito exhibition took place November 4-16, 1963, at Galería Rubbers. The gallery was founded by Natalio Jorge Povarché in 1957 and is still operating in Buenos Aires. This article was selected because it documents the closeness between Pellegrini and Hlito, both on a personal level as well as regarding the transformations occurred in the artists' work.