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 a tribute exhibition identifies the three periods of Jorge de la Vega’s work: the geometric stage, the Nueva Figuración [New Figuration] stage (within painting), and the stage of songs, poems, and accompanying shows. Pellegrini emphasizes that de la Vega was not limited to revisiting some real event that he had lived; instead, he attempted to “overcome anguish through a sense of humor filled with hope.”
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].
Jorge de la Vega was born in Buenos Aires in 1930 and died in 1971. He was a self-taught painter as well as an engraver, poet, guitarist, graphic artist, craftsman, and advertising executive. In 1961 he joined the group Otra Figuración [Another Figuration], also known as Nueva Figuración [New Figuration], along with Romulo Macció, Luis Felipe Noé, and Ernesto Deira.
This text by Pellegrini was originally published in the exhibition Homenaje a Jorge de la Vega [A Tribute to Jorge de la Vega], held at Galería Carmen Waugh in Buenos Aires in 1971. It was later reproduced in the exhibition catalogue for Jorge de la Vega, 1930–1971, Museo Nacional de Bellas Artes, 1976. In this same publication, Ruth Benzacar, owner of the eponymous gallery where the exhibition took place, stated: “In this exhibition of Jorge de la Vega, I have thought it opportune to include the introductory text by Aldo Pellegrini. Twenty years later, the living testament of these two creators is affirmed.”
This text was selected because it documents Pellegrini’s determination of distinct periods within Jorge de la Vega’s work. At the same time, it also testifies to Pellegrini’s critical appreciation for the sensitivity and reflective attitude with which this artist interpreted his times.