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 statement written by Fernández Bonina concerning the happening he presented at the Series is a brief description of the procedure (bring the viewers into an empty room, where there are no objects or other distractions of any kind). He also explains his intention, which was to prompt the viewers to reflect on their own existence, influenced as it is by forms of prohibition that have become so common as to be completely invisible.
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 presented by Fernández Bonina was the third at the Series, and it took place in July 1968. Picking up where previous interventions had left off, Bonina cleared the room of everything except some posters, which announced that smoking and talking were forbidden. Viewers were asked to leave their books, bags, purses, and the like, outside, and to respect the instructions provided by the posters. At Bonina’s event, as in other happenings presented at the Ciclo, the emphasis on the actual art project was stemming from the nexus with the public, according to them the privileged matter of the artistic proposal.