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 of this article, Julio González Tejada, refers to the exhibition El realismo de Mathias Goeritz and comments that if said exhibition intended to be an “explosion and manifestation of rebellion,” it turned out to be a symptom and expression of weakness as well as of repugnant corruption. As regards the manifesto Estoy harto [I am fed-up] he agrees with Goeritz as regards to being fed-up with the self and the impotence caused by the creation of art that is minor, full of vices, without originality, or even talent. However, in opposition to the artist, he believes that the fight against those vices must be achieved with truth and virtue, but never with the vice itself taken to its limits. The exhibition is neither interesting nor important, according to the author of the article. He describes his Mensajes [Messages] as simple decorative pieces rather than shouts of protest, which at the beginning of the 20th century would have meant something, but at that moment had neither dignity nor merit at all.
The artworks and exhibitions by Mathias Goeritz were always polemical. The reviewed show, presented in 1960 at the Galería Antonio Souza in Mexico City, was no exception. The author of the review offers a very personal reading full of challenges to the artist. In spite of his objections, it is one of the few publications that include photos of the exhibition and the manifesto Estoy Harto that was distributed for the first time.