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 study signed by Juan Carlos Distéfano,Francisco Kröpfl, Fernando von Reichenbach and Humberto Rivas sets forth objectives and a structural schematic. It likewise makes projections on budgets as well as the infrastructure necessary for the functioning of the Laboratorio de Comunicación Audiovisual [Audivisual Communication Laboratory] of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute].
The Premio Instituto Torcuato Di Tella [Torcuato Di Tella Institute Prize] was established in 1960, a few months after the creation of the Centro de Arte del Instituto Torcuato Di Tella [The Art Center of the Torcuato Di Tella Institute] (ITDT). The latter organization was run by a board composed of Lionello Venturi, Ricardo Camino, Guido Di Tella and Jorge Romero Brest. The Centro was dedicated to the dissemination and promotion of the visual arts as well as to maintaining contact with other centers linked to national and foreign production. The Premio ITDT was created within this framework with the intention of awarding opportunities to young Argentinean artists to enrich their experiences abroad. The Premio ITDT not only awarded prizes/scholarships, but also favored the dissemination of international art within the local scene. This made it an important institution for the revival of the visual arts at the time. The prize was awarded to both national and international artists until 1967, with a few variations according to the given year. In 1967 it became known as the Experiencias Visuales [Visual Practices]. Later, in 1968 and 1969 it became known solely as Experiencias [Practices]. In 1963 Romero Brest resigned as director of the Museo National de Bellas Artes [National Museum of Fine Arts] and accepted the position of director of the Centro de Artes Visuales [Center of Visual Arts] of the ITDT. The Experiencias 1969 [1969 Practices], series I and II, were held in 1969.Fernando von Reichenbach was a musician; Francisco Kröpfl was a member of the Agrupación Nueva Música [New Music Group] as well as an avant-garde composer; Juan Carlos Distéfano was a visual artist with notable works made of epoxy resin casts; Humberto Rivas was a publicist and photographer. At the beginning of 1970 the directors of the ITDT decided to pursue a reduced program at the Centro de Artes Visuales [Center for Visual Arts] as well as at the Centro de Experimentación Audiovisual [Audiovisual Experimentation Center] for financial and political reasons. At the same time they continued to support the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) [Latin American Center for Higher Learning in Music] Romero Brest could not accept this and consequently resigned his position. The CLAEM maintained itself until 1971; afterward it became dependent to the Municipal Authority of Buenos Aires.