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 article is an interview with artist Pablo Suárez in which he is questioned regarding his actions within the Argentinean artistic scene of the 1960s. Among the diverse events he relates, he mentions the realization of the happening called La Menesunda [Hodgepodge] (Buenos Aires: Instituto Torcuato Di Tella [Torcuato Di Tella Institute], 1965). He points out that it was “invented” by him, Martha Minujín and Rubén Santantonín; but that the one who truly “llevó a cabo hasta el fin” [saw it it through to its end] was Santantonín given that at that time Minujín had just delivered a baby and he [Suárez] had been awarded a fellowship. Suárez says these [latter] events had distanced both artists from the final realization [of the happening].
This article possesses special significance as it bears witness to the leading role that Rubén Santantonín played in the realization of La Menesunda, a happening that took place at the Instituto Torcuato Di Tella (1965). Although it was a group work, it was at the time attributed solely to artist Martha Minujín by the newspaper media.The event, in which other artists collaborated, such as Leopoldo Maler, David Lamelas, Rodolfo Prayón, Floreal Amor and Pablo Suárez (interviewed in the article), consisted of the creation of a track in which viewers met with various tactile and visual experiences.