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The correspondence section of Letra y Línea [Letter and Line] prints two letters: one from Julio E. Payró in response to the comments made by Aldo Pellegrini in the article “Three Painters and a Critic in Krayd,” pubished in the previous issue of Letra y Línea, and another letter by Pellegrini in which he touches upon the controversy regarding the creation of the term non-objective by refuting its origin. Payró argues the received attack with harsh words. Pellegrini immediately points out his existing errors in order to demonstrate that his contentions are based on declarations made directly by Nina Kandinsky. Pellegrini likewise takes the opportunity to say that he does not wish to be considered a “critic” because incapable and unprepared practitioners diminish and deprecate such a term.
Aldo Pellegrini (Rosario 1903–Buenos Aires 1973) was a distinguished poet, playright, 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]. Letra y Línea. Revista de cultura contemporánea. Artes plásticas. Literatura. Teatro. Cine. Música. Crítica [Letter and Line. A Contemporary Culture Magazine. Visual Arts. Literature. Drama. Film. Music. Criticism] was a contemporary culture publication directed by Pellegrini; its four issues appeared between October 1953 and July 1954. Its collaborators included writers, musicians and poets such asEdgar Bayley (1919–90), Osvaldo Svanascini (1920), Oliverio Girondo (1890-1967), Mario Trejo (1926), Enrique Molina (1910-97), Juan Carlos Paz (1897-1972), and Norah Lange (1906-72), among others. Oliverio Girondo was an Argentinean poet who was married to fellow poet Norah Lange. He was linked to the writers of Martín Fierro magazine, including Jorge Luis Borges (1899–1986), Raúl González Tuñón (1905–74), Macedonio Fernández (1874–1952), Ricardo Güiraldes (1886–1926), and Leopoldo Marechal (1900–70), among many others. In the 1930s, Girondo was intensely active in public literary circles. Later, due to the experimental nature of the poems published in his book En la masmédula [In the Very Gist], he wielded significant influence over the generation of poets associated with Pellegrini and Letra y Línea magazine.Julio E. Payró’s (1899–1971) letter refutes Pellegrini’s criticism; the latter appeared in issue 2 of Letra y Línea magazine in a piece regarding the exhibition of Armando Coppola, Hortensia Tarazi, and María Deprima. It emphasized that Payró’s “little foreword” insisted in pointing out that Kandinsky had originated the term “non-objective.” (Please see document no.742945)These debates continued in Buenos Aires Literaria [Literary Buenos Aires] magazine in a story titled “On a Positive Contribution” signed by Jorge Luis Borges and Adolfo Bioy Casares under the pseudonym Bustos Domecq. The magazine circulated between 1952 and 1954 under the direction of Andrés Ramón Vázquez. The story is also linked to the article “Borges y Bioy Casares, paladines de la literatura gelatinosa” [Borges and Bioy Casares, Champions of Gelatinous Literature] published in the last issue of Letra y Línea and “Comentarios a tres frases de autores célebres” [Commentary on Three Phrases by Celebrated Authors] (please see document no. 744705), published in the September 1956 issue of A partir de cero [Starting at Zero] magazine under the direction of poet Enrique Molina. The magazine circulated beginning in 1952 and later initiated a second phase in 1956. This source was selected because of its contribution in reconstructing the debates generated by the rise of Argentinean Abstract art that allow one to register, in an ample network of exchanges, Pellegrini’s drive and incisive viewpoint.