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 is the poster for the OPNI (Objeto Pequeño No Identificado [Unidentified Tiny Object]) exhibition, a humorous reference to OVNI [UFOs, Unidentified Flying Objects] that posited an analogy between avant-garde art and a landing of extraterrestrials. The Grupo de Arte de Vanguardia used the Galería Quartier for an exhibition of small, very funny pieces. Juan Pablo Renzi remembers the occasion as follows: “At the time of the OPNI exhibition, we were already established, we were known in Rosario. The Galería Quartier invited us to present some objects, some pint-sized things for the end of the year…So that we produced a little flier with a drawing that I contributed, which actually had nothing to do with my work. I wanted to create something that was as crazy and different as possible from what I usually did.” This is an excerpt taken from an interview with Guillermo Fantoni, in Arte, vanguardia y política en los años ’60 [Art, Avant-garde, and Politics in the 1960s] (Buenos Aires: El cielo por asalto , 1998), 47.
The Grupo de Arte de Vanguardia de Rosario—a merger of three studios and several artists from different backgrounds (Juan Grela’s students, the Grupo Taller, and recent graduates of the University’s Escuela de Bellas Artes)—launched their group activities and began to articulate their ideas in late 1965. Two years later, the merger had coalesced and gained recognition as one of the most vital experimental art groups in the country.
The OPNI (Objeto Pequeño No Identificado) exhibition at the Galería Quartier in Rosario was playful, funny, and irreverent. This was all in overt opposition to the group’s radical political stance a year later. Among the works presented, Graciela Carnevale had shown a kilo of feathers and a kilo of lead; Guillermo Tottis put a sausage dog between two large plastic buns and walked it around the gallery; Eduardo Favario presented a framed 5,000 pesos bill that was offered for sale at that price, and so forth. OPNI provoked a lively response in the local press.