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 text by Carlos Gorriarena focuses on Pierre Restany’s report published in the catalog for the Premio Torcuato Di Tella[1964 Torcuato Di Tella Prize] 1964, in which the French critic points out that Nuevo Realism [New Realism] is an art of behavior. Art that seeks to recuperate the “acción moral” [moral action] that art began to lose during the Renaissance, when it stooped towards “hacer” [doing]. The article discusses this posture, examining the process for selection of materials, as much in disuse as discarded/broken materials or even the accumulation of this trash; this appeared to be another type of formalism rather than a defiant, desperate or controversial attitude.
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 [Center for Art 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 to award 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 Renaissance 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 [The National Museum of Fine Arts] and accepted the position of director of the Centro de Artes Visuales of the ITDT. In 1964 the Premio ITDT was both National and International in scope; the judges were Clement Greenberg, Pierre Restany and Jorge Romero Brest.La Rosa Blindada [The Armored Rose] was a militant Communist publication founded in 1964, although the orthodox party would shortly thereafter censor the magazine with regard to some specific topics. José Luis Mangieri and Carlo Alberto Brocato served as editors; several prominent specialists from different disciplines also contributed to the magazine, including the painter Carlos Gorriarena.In this document, the artist argues with French critic Pierre Restany, who had served as a jury member for the Premio Torcuato Di Tella 1964. In regard to this topic, please consult the introductory text titled “¡El Arte, virtud moral, al fin!” [Art, moral virtue, at last!]