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 introductory text by Otto Hahn analyzes some of the consequences of modern life within an industrialized city, such as uniformity, anonymity and the acceptance of triviality. He places the work of Robert Rauschenberg within this framework, as well as Victor Vasarely’s prototypes, Pop Art and its famous practitioners, Ives Klein and James Rosenquist, among others, along with those who [use] industrial products as contemporary elements that allow one to associate the everyday with beauty.
The Premio [Prize] Instituto Torcuato Di Tella was established in 1960, a few months after the creation of the Centro de Arte del Instituto Torcuato Di Tella (ITDT). The ITDT was run by a board composed of Lionello Venturi, Ricardo Camino, Guido Di Tella and Jorge Romero Brest. The Centro was dedicated to the dissemination and promotion of the visual arts as well as to maintaining contact with other centers linked to national and foreign production. The Premio ITDT was created within this framework with the intention of awarding opportunities to young Argentinean artists to enrich their experiences abroad. The Premio ITDT not only awarded prizes/scholarships, but also favored the dissemination of international art within the local scene. This made it an important institution for the renewal of the visual arts at the time. The prize was awarded to both national and international artists until 1967, with a few variations according to the given year. Afterwards it became known as the Experiencias Visuales 1968 and Experiencias 1969.
This text by Otto Hahn was selected because it completes the perspective on the jury and also speaks to the various functions of the Premio Torcuato Di Tella: especially in relation to the continuation of the international competition that permitted the dissemination of work by the most innovative foreign artists at that time, as well as the integration of national artists into the Premio’s context. The Prize also served to promote exchange between local and foreign theoreticians and critics.