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.
The foreword to this catalogue was written by Hugo Parpagnoli—the director of the Museo de Arte Moderno in Buenos Aires, at that time—highlights the important role played by Dr. Isidoro Slullitel, the private art collector. He was a rare enthusiast who regularly supported the Rosario group. Several of the works exhibited in Buenos Aires were actually on loan from Dr. Slullitel’s collection. When seen all together, the works brought to light a marked tendency toward primary structures—which were very much in vogue among the avant-garde that year—as well as less influence from Pop art.
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 rosario 67 exhibition, at the Museo de Arte Moderno in Buenos Aires, was an example of the group’s increasing visibility and maturity, as well as an expression of the wide range explored by these avant-garde experimental artists in Rosario.