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 article Pellegrini affirms that as long as artists perceive that the image conveys an instantaneous message, and the researchers remark that we live in a “visual era,” the visual arts will be at the pole of maximum attraction of a culture. By being aware of the new challenges, Ernesto Deira conceives his work as “something open,” which incites the viewer to complete it. According to his own words: “the painting is finished when someone looks at it.” Pellegrini remarks that beginning with his first images connected to Expressionism, the shapes produced by Deira gradually turned into stains and graphisms. Furthermore, he points out that this work arises from the interaction between the transforming reality of man and man modifying reality.
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].ARS Revista de Arte (ARS Art Magazine), a publication directed by I. Schlagman, was preceded by ARS. Todas las artes (ARS All of the arts), a monthly publication which circulated under the same direction from August 1940 on. Although it was dedicated to art in general, its pages included music as well as visual art. Ernesto Deira (1928-1986) was an Argentine artist who, from the early 1960s on was a member of the group which, under the same name, was part of the 1961 exhibit Otra Figuración [Another Figuration]. Deira participated together with Luis Felipe Noé (1933), Rómulo Macció (1930) and Jorge de la Vega (1930-1971), with an aesthetic that rejects--by means of collages, drippings, and the power of expression--Abstractions as well as traditional forms of representation.This document was chosen because it proves the importance that Pellegrini assigned to the challenging attitude of Ernesto Deira, reflected in his visual art.