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 text for the exhibition catalog De la figuración al arte de sistemas [From Figuration to Systems Art] (Buenos Aires: CAyC, 1970) describes and analyzes a number of works by Edgardo Antonio Vigo and also discusses his creative making. According to Jorge Glusberg, Vigo’s evolution can be interpreted as a transition from figurative art (rooted in the production of prints) to systems art that demands the active involvement of the viewer in the work as its essential component. This is an art in which Concrete poetry bridged both creative proposals.
In 1968, the Centro de Estudios de Arte y Comunicación [Center for Art and Communications Studies (CEAC)] was created, which, shortly after its first public event at the Galería Bonino (August–September 1969), changed its name to Centro de Arte y Comunicación [Art and Communications Center (CayC)]. Always led by Jorge Glusberg as director and theoretician, the CAyC sponsored several different artists throughout its time. In 1971, the Grupo de los Trece [Group of the Thirteen] was created, made up of Jacques Bedel, Luis Benedit, Gregorio Dujovny, Carlos Gizburg, Víctor Grippo, Jorge González Mir, Vicente Marotta, Luís Pazos, Alfredo Portillos, Juan Carlos Romero, Julio Teich, Horacio Zabala, Alberto Pellegrino, and Jorge Glusberg. Later on, some artists moved on while others were included; in 1975, the CayC Group included the participation of Bedel, Benedit, Grippo, Portillos, and Glusberg.
The artists who were represented at the De la figuración al arte de sistemas [From Figuration to Systems Art] exhibition at the Museo Provincial de Bellas Artes Emilio A. Caraffa (Plaza España-Córdoba, August 1970) were Nicolás García-Uriburu, Benedit, and Edgardo Antonio Vigo.
“Arte de sistemas” was the term coined by Jorge Glusberg to define the various artistic proposals carried out within CAyC’s sphere of influence. According to this definition, a work was understood as a system of signs that could, in turn, refer to a variety of codes: political, ecological, conceptual, and cybernetic, among others. Therefore, above and beyond the myriad meanings suggested by the works, they all had something in common in that each could be classified as a system. This meant that the works could theoretically be either mass produced or multiplied in some way, thus stressing the relevance of the creative process rather than the finished product.