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 short news item was prepared as sketchy materials for press release shortly after the inauguration of the Tucumán Arde [Tucumán Is Burning] exhibition at the CGT (Confederación General del Trabajo) in Rosario. The circumstances of the exhibition’s crowded inauguration, presented as the second phase of the work, is referenced here. The main objective is to produce a “over- informational circuit” about the Tucumán crisis; that is, to “bring out in the open, through reflective use of the mass media, the contradictions of the policy of the Argentine government and the upper class” regarding the closing of the sugar mills. The news snippet describes the show as the creation of an “environmental frame of reference” achieved by an efficient assembly, which accomplished an “air of flagrant truthfulness” and insists on “the reiteration of content and form” in order to make a profound impact on the public. At the same time, that overload of information “reverses the false official information” regarding the Tucumán situation. Even though the exhibition’s success called for a one-week extension, the show was originally announced to take place on November 9, as well as the Buenos Aires inauguration was scheduled for the 18th of the same month (and finally postponed until the 25th).
Tucumán Arde [Tucumán Is Burning] is the most famous collective production of emerging vanguard art in Argentina, both in Buenos Aires and Rosario, and it took place at the turning point of the artists’ political and artistic radicalization in 1968. Its design implied a complex process of research and counter-information as well as a mass-media campaign. Given the fact that they were an integral part of the investigation, many artists (mostly from Rosario) traveled to Tucumán for a second time in October 1968. It was in that province that, with the support of trade-union members, journalists, and other collaborators, the artists developed an underground registry of work pertaining to the social situation of sugar mills (closed by then), schools, hospitals, and so forth, seeking information that would evidence the official campaign’s deception respecting the so-called Operativo Tucumán. A variety of media was used, including recordings, photographs, and films.
With those diverse materials and records, the exhibition was inaugurated on November 3, 1968, at the CGT (Confederación General del Trabajo) de los Argentinos with headquarters in Rosario. Though political acts were forbidden at the time, the exhibition’s attendance was enormous.