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 critic highlights the fact that—in Roberto Aizenberg’s work—a process of purification was set into motion by three essential elements: space, light, and architecture. Pellegrini points out that technical perfection and impeccable detailing are the world’s most adequate formal qualities expressed by the artist, who, notwithstanding his elimination of what is immediate and vital, “reflects the surprising vitality of the visionary.” The critic establishes a periodization of Aizenberg’s work, in which he makes a distinction between the initial period—the 1949–1954—and a later stage of metaphysical abstraction paintings. He concludes that, when it comes to Aizenberg, “the unusual appears as a result of a total climate of the painting.”
Aldo Pellegrini (Rosario, 1903–Buenos Aires, 1973) was a very prominent poet, playwright, essayist, and art critic in the Argentinean cultural milieu. Linked from the beginning to the development of Surrealism, he directed several editorial projects. Likewise, he supported and helped spread Abstract art’s different trends, promoting several groups, such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and Asociación Arte Nuevo [New Art Association]. The Aizenberg exhibition took place at Centro de Artes Visuales [Visual Arts Center] of the Torcuato Di Tella Institute from June 3–29, 1969, with the exhibition catalog presented by Jorge Romero-Brest. Roberto Aizenberg (1928–1995) was an Argentinean artist who studied with Juan Batlle-Planas and made his career within Surrealism. He created headless subjects and objects, which referred to a state of deeply rooted metaphysical uncertainty because of their ambiguity. This presentation clearly points out Pellegrini’s opinion of Aizenberg’s work.; especially in relation to Surrealism, as well as his technique and the different stages taken by his career.