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 author, Alfonso de Neuvillate, comments that the exhibitions by Mathias Goeritz are always something people look forward to, because of the power of invention which characterizes his work—something infrequent in the artistic environment of that time—and also because of the emotions awakened in the viewer. The first exhibition he describes displays a series of towers that form the Great Bear; they are emerging “with astounding majesty” and creating reflections ad infinitum thanks to exposed gilded mirrors and squares (called “messages”). The environment that the artist achieves in this exhibition simultaneously elicits in the author of this review as much doubt as faith, since art should always be origin, development and conclusion. The author also wonders how it is possible that an artist that reached such achievement, can talk about the “non-existence of art.” Only a few lines are dedicated to the second exhibition, by Montiel Blancas, with comments such as that his paintings are nothing, although even in nothingness some value may be found. According to de Neuvillate and as regards the third exhibition, the Presencia de“Los hartos” [Presence of “The Fed-ups”] is already obsolete at this time, and is described as a place where the presence is the absence of objects, where the joke is the joke of those artists whose aim is the joke for the sake of the joke itself.
The exhibition which the author refers to is entitled Tres en Uno. Tres exposiciones. 1: equipo Goeritz-Montiel: La Osa Mayor, variaciones sobre el tema de una constelación. 2: Manuel Montiel Blancas: pinturas. 3: Presencia de “Los Hartos” [Three in one. Three exhibitions. 1: Goeritz-Montiel Team: The Great Bear, variations on the theme of a constellation. 2: Manuel Montiel Blancas: paintings. 3: Presence of “The Fed-Ups”]. It was held at the Galería del Palacio de Bellas Artes in Mexico City. In essence, two aspects are remarkable in this review: first, in its title the author confuses the name Mathias and writes Martin. In spite of the confusion with names, the second aspect to point out is the fact that Mr. de Neuvillate writes respectfully about the exhibition. His reading is rich and to the point, a fact that is surprising after so many articles and readings of the time that were against it.