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.
Following his visit to Documenta 5 in Kassel, Germany, in 1972, Jorge Glusberg gave an interview in which he discussed the relationship that Argentine art in particular, and Latin American art in general, enjoyed with the hegemonic nations of the world. Glusberg considers the idea from a historical perspective, referring to a “colonial period” which—in his opinion—belongs to the past, thus involving a very direct form of dependence; then, a “cosmopolitan period” of assimilation during the fifties and early sixties; and, finally, “what we could call a national period” which began in the late seventies. He refers to this period as a time when artists came to embrace their “national reality.” In Glusberg’s view, that is the only way to guarantee that Latin American art in general, and Argentine art in particular, will be represented at the next Documenta 6 (1977)—in other words, when it “is a true expression of national feeling.”
The Centro de Estudios de Arte y Comunicación [Center for Art and Communication Studies (CEAC)] was founded in 1968. Shortly after its first public event at the Galería Bonino in August–September of 1969, its name was changed to Centro de Arte y Comunicación (CAyC). Over time and under the leadership of its director and theoretician, Jorge Glusberg (1934-2012), the CAyC sponsored a number of artists. The Grupo de los Trece [Group of Thirteen] was created in 1971, and included Jacques Bedel, Luis Benedit, Gregorio Dujovny, Carlos Ginzburg, Víctor Grippo, Jorge González Mir, Vicente Marotta, Luis Pazos, Alfredo Portillos, Juan Carlos Romero, Julio Teich, Horacio Zabala, Alberto Pellegrino, and Glusberg himself. After a time, some of the original artists left the group and others joined, and Bedel, Benedit, Grippo, Portillos, and Glusberg formed the Grupo CAyC about 1975.