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.
This article sketches the origins of the Grupo de Arte de Vanguardia de Rosario—referring to the various subgroups that merged between 1965 and 1966—and comments on its links to the previous generation. The article mentions the old enmity between two of their predecessors, Juan Grela and Carlos Uriarte, and the dizzying succession of changes that the group endured since inception. The article lists the various group efforts that the members have been involved in since 1966 and mentions the group’s current projects, particularly the Ciclo de Arte Experimental [Experimental Practices of Art Series]. It also refers to their recent split with institutions carried out by the group, and the turning point they reached. Aldo Bortolotti, one of the members, sums it up as follows: “We are renouncing the institutions, not the exposure.”
The Grupo de Arte de Vanguardia de Rosario—created by a fusion of three workshops, with artists from different artistic organizations (alumni from Juan Grela, the Grupo Taller, and recent graduates of the Escuela de Bellas Artes de la Universidad)—initiates its public collective actions and position statements at the end of 1965. Two years later, the group acquires more cohesion and is acknowledged as one of the most dynamic experimental art groups in the country.
Primera Plana [Front Page] was the weekly news magazine that took the most active role in the modernization of the 1960s Argentine society and culture. This lengthy article portrays the Grupo de Arte de Vanguardia de Rosario as one of the most vital centers of artistic activity in the country. The article documents the group’s visibility and collective evolution, and quotes a few opinions concerning its particular dynamic as expressed by some of the artists involved.