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.
Glusberg’s article describes (with a few inaccuracies) Tucumán Arde [Tucumán Is Burning] (1968), the landmark artwork/event produced by the avant-garde of Rosario, Argentina, during the period spanning 1966–68. In terms of the work involved, Glusberg makes a distinction between its semantic and its aesthetic expression. Though he considers the latter one to be untranslatable and ambiguous, he sees the semantic message—expressed by means of symbols and structures that lead to actions—as “an essentially social proposal” whose goal is to make art “an agent of change.” It is also interesting to note that—with no specific reference to or comparison with Arte Povera—Glusberg includes the group that was responsible for Tucumán Arde in a category that he refers to as “art of poorness.”
Tucumán Arde, the best-known group event ever produced by the avant-garde of both Buenos Aires and Rosario, took place in 1968, when radical political and artistic unrest came to a head in various parts of the world. The proposal of the event involved a complex process of research, counter information, and a massive public awareness campaign. The immediate results were huge and can be confirmed in a number of newspaper articles, many of which appeared in labor union and political publications. Some of the essays suggested an artistic code of some kind with which to understand the work Tucumán Arde, as did this article written by Jorge Glusberg (1934-2012), who was at the time a budding critic.