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.
Lía Maisonnave explains her intervention, which was laid out on the floor of the exhibition space, by stating that her intention is to shatter “the static, conventional artwork/viewer link, because here the viewer is no longer in front of and outside of the work.” The goal of her proposal, therefore, was to eschew the standard aesthetic contemplation, and to foster an active, non-alienating connection between the public and the space. In “Instrucciones para que Ud. realice esta cuadrícula en un local o terreno de su exclusiva propiedad [Instructions for you to reproduce this grid in your own place or space],” the artist describes—under Julio Cortázar’s style parameters of “Instrucciones para subir una escalera [Instructions for Climbing a Ladder]”—the steps required to create a similar environment. This gesture helps to demystify the idea of the artist as an inspired genius, and the perception of an artwork as being unique and unrepeatable, insofar as the Maisonnave is saying that anyone can duplicate her intervention.
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. The Ciclo de Arte Experimental [Experimental Practices of Art Series], planned for the early 1968, began in May inside a space that was given to the group by an advertising agency. A short time later, the Instituto Di Tella from Buenos Aires granted it a subsidy that allowed the group to rent a small glass space inside a commercial gallery. Every two weeks, until October 1968, the group would stage an exhibition proposed by one of its members.
The experience proposed by Lía Maisonnave, the second in the Series was presented in June of 1968. The room was completely empty, and the artist made no changes to anything except the floor, on which she drew a black-and-white grid (that looked like a chess board). Maisonnave gave each spectator a sheet of instructions. In this, as in other interventions in the Ciclo, the emphasis was on involving the public in the project, thus providing the viewer with the full-blast experience of being privileged part of the artistic action.