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 document is a summary containing statistical data (percentages and numbers) of several relevant variables that demonstrate the magnitude of the Tucumán crisis. Actualized data was obtained from different sources (some official and some from labor unions), such as the INTA (Instituto Nacional de Tecnología Agropecuaria) [National Institute of Agricultural and Livestock Technology], Secretaría de Cultura y Educación de la Nación [The Ministry of Education], and the ATEP [Teachers of the Province of Tucumán Association]. The statistics cover aspects such as unemployment, school desertion, illiteracy, and child mortality. Also addressed in this document are “Mal de Chagas” [Chagas’s disease] and tuberculosis cases, the concentration of land ownership, and other social and subjective consequences of the crisis.
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. In order to prevent the obtained information from falling into the hands of law enforcement agents, the artists sent the results to the city of Rosario on a daily basis, where a group of collaborators would process them. This document contains statistics obtained from different sources, which was mimeographed and handed out to the attending public in the Tucumán Arde exhibition in Rosario (and probably in Buenos Aires as well). Along with other materials, this mimeographed page was given out to the public by hand. For fifteen days, Tucumán Arde took place at the old CGT (Confederación General del Trabajo de los Argentinos) house, in Rosario. Even though the dictatorship had forbidden public events, an estimated three thousand people came to see the exhibition. The artists signed Tucumán Arde documents using various names. Since 1966, the Rosario group had maintained the denomination "Grupo de Arte de Vanguardia de Rosario"; after they merged with the artists from Buenos Aires, who did not have a collective name, they used various names, including Grupo de Artistas de Vanguardia, Grupo de Artistas Argentinos de Vanguardia, Grupo de Plásticos Argentinos de Vanguardia, Comisión de Artistas de la CGT de los Argentinos, and even Comité Coordinador para la Imaginación Revolucionaria. Some documents are signed with one of these generic names; others were not signed at all; and some of them contain a large list of first names.