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 text presents an argument in favor of collage as a visual arts medium in spite of the “poca importancia” [little importance] it had for the general public, as well as in regard to the disdain generated by the technique’s materials.
The following artists participated in the exhibition Collage (Buenos Aires: Galería Lirolay, March 19- 31, 1962): Rubén Santantonín, Roberto Aizenberg, Juan Battle Planas, Antonio Berni, Noemí Di Benedetto, Nicolás García Uriburu, Kenneth Kemble, Jorge López Anaya, Marta Minujín, Emilio Renart, Reyna, Antonio Seguí and Luis Alberto Wells.This exhibition made known the critical reception that Santantonín’s work had received at the beginning of the 1960s. His work was understood within the possibilities offered by the informal poetics of the post-war era. At the beginning of the 1960s, Galería Lirolay [owned by Mario and Paulette Fano] was run by French critic and artist Germaine Derbecq, wife of sculptor Pablo Curatella Manes. The gallery mounted new shows every two weeks. It was in this space that the artists who would become more well-known at the Instituto Torcuato Di Tella [The Torcuato Di Tella Institute] later in the decade held their first exhibitions.Hugo Parpagnoli was an important critic of Argentinean art. He began his career in the 1940s. In 1963 he succeeded Rafael Squirru as the director of the Museo de Arte Moderno de Buenos Aires [Museum of Modern Art of Buenos Aires].