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.
This is a review of an exhibition of new art that was held at the Faculty of Medicine during a symposium on social psychopathology. The event was a means of acknowledging the positive role taken by “dissatisfied youth,” both in visual arts’ research and group experimentations, which had breathed new life into the Argentinean visual arts scene. The reviewer mentions several young artists working with primary structures, signs, geometric and kinetic projects, and acrylic constructions. In the writer’s opinion, Buenos Aires is ready to compete with Paris as one of the most vital capital cities on the international art circuit. An evaluation of certain key events during the last three decades (from the Orión group through the happenings) convinces the reviewer that art in a national level is, for the first time, “in sync with the times.”
Análisis, a major weekly news magazine, published a review of an exhibition of experimental art that was organized by artists from Buenos Aires, Rosario, La Plata, and other parts of the country as part of a university symposium on youth psychology. The reviewer notes that the exhibition was a natural defense of “dissatisfied youth” against the frequent attacks endured by them. The article’s oblique critique refers to the ongoing persecution and censorship with which the dictatorial regime of General Juan Carlos Onganía had responded against any sign of rebellion or difference, ever since coming to power in 1966. Young men with long hair and young women in miniskirts were a favorite target of the frequent police raids, as were members of the political and labor opposition. Many art exhibitions, plays, and movies were closed and forbidden, and the public university was frequently raided. That is what Oscar Terán referred to as a “traditionalist blockade,” which in turn prompts the emergence of a coalition of diverse factions that are united in their opposition to the military regime.