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.
In the introduction to his proposal, Eduardo Favario stresses that the public should play an active role by means of intervention. He encourages those who had responded to his invitation to set off on an excursion (from the closed venue to another place where the artist is waiting), urging them to go out into the street and move around the city. Favario also proposes that people become aware of the “possibilities embedded in an action that tends to alter reality.” The closing of the venue is meant to signify that works of art “can no longer continue to evolve within the traditional environment”—that is, the gallery. Favario suggests that, on one hand, art should be expressed in a vast environment out of control, like the street. On the other hand, this strategy could be read as a metaphorical critique of the frequent closures and acts of censorship used by the President, General Juan Carlos Onganía, and his regime in order tto harass multifarious activities, either cultural or artistic.
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 last three presentations of the Ciclo (by Eduardo Favario, Rodolfo Elizalde / EmilioGhilioni, and Graciela Carnevale) were, in some ways, the most radical expression of the group’s anti-formalist and anti-institutional stance.
On September 9, 1968, Eduardo Favario staged an event that consisted of closing the gallery. The people who came to the opening found the place closed and apparently abandoned; the door was taped over with closure notices that (unbeknownst to the exhibition-goers) had been placed there earlier by Favario himself. A poster instructed people to take a specific route to the Signo bookstore at another gallery. In this way, the artist prompted a walk through the streets, an itinerant action consisting of an orchestrated excursion in the city.