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.
Pellegrini’s text introduces a number of his writings published in different venues, collected in the book Para contribuir a la confusion general [To Contribute to the General Confusion](1965). Through his reflections, the critic warns that much of what is written in an attempt to clarify some problem may have the opposite effect of contributing to the confusion. Within this framework, Pellegrini states that the purpose of this book is not to “convince” but rather to stir the awareness of those ready to look at their surroundings with open eyes.
Aldo Pellegrini (1903–1973) was a poet, playwright, essayist, and art critic with a prominent role in Argentine culture. Linked to the development of Surrealism since its inception, he directed several editorial projects. Pellegrini also supported and expanded the various trends of Abstract art, encouraging groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and the Asociación Arte Nuevo [Association of New Art].This book contains a collection of the following texts: “Persuasive Essays,” “On the Decadence of Contemporary Art,” “The Universality of the Poetic,” “Anti-persuasive Essays,” “The Subversive Action of Poetry,” “The Artist’s Solitude,” “The Illustrious Stranger,” “Comments on Three Quotes by Famous Authors,” “What is Called Poetry is Everything that Closes the Door to Imbeciles,” “The Power of the Word,” “The Philosophical Egg,” and “The Foundations of the Aesthetics of Destruction” (See # 744705, # 745210, #741492). This source was selected because it summarizes Pellegrini’s skeptical and provocative position vis-à-vis the schematic ideas in circulation not only about art but also about poetry. At the same time he casts an inquisitive eye upon his own theoretic-critical production.