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.
Rubén Naranjo’s statement concerning the happening he presented at the Ciclo de Arte Experimental [Experimental Practices of Art Series] is sketchy. Rather than discuss the work itself—which is only referred to by its title—Naranjo explains that he is enthusiastic about being part of a group because its practices are quite different from his earlier career, which he found to be more solitary and less productive.
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 happening proposed by Rubén Naranjo—the elder member of the group—was the sixth in the Series and was presented in mid-August 1968. As had been the case with other members since 1966, Naranjo set out to explore the use of a created environment, so that he constructed a large structure that viewers could enter. Called Espacio dinámico [Vital Space], the structure consisted of an ensamble of rigid blocks that could be articulated as a walking path for the viewer to interfere.