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—a summary of Tucumán Arde [Tucumán is Burning] when it was still in the process of being realized—is of interest because it identifies the work as belonging to “Arte y comunicación de masas” [Art and mass communications], something which does not occur in any other source or available testimony. If a production as such is considered either at the margin of the art establishment or in conflict with the market, it is also interesting that it pigeonholes the work’s authors within the “arte pobre” [arte povera/ poor art] consideration. [According to the note] this classification is based on the “poor art criteria that captivated the critic Alan Solomon when he was in Buenos Aires in 1967.”
Tucumán Arde is the best-known collective work made by the Rosario and Buenos Aires avant-gardes. It was produced in 1968 at the climactic moment of the artistic and political radicalization of these artists. Its design entailed a complex process of research and counter-information as well as a massive dissemination campaign. Its immediate repercussions were vast as can be supported by the numerous newspaper articles, in both local and international publications, that accompanied it.
The Argentinean critic and art promoter Jorge Glusberg published two articles related to this collective work. The more extensive one was published in the magazine ARTiempo while the more concise one—here referenced—appeared in the contemporary culture weekly Análisis, signed only with the author’s initials.