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.
Toward the end of the 1950s, Julio Llinás defines the current times as ones of total convulsion, which implies the growth of a new state of awareness. He critiques Tachism, calling for an ongoing, always renewed experimentation that is alive and revealing. So that Llinás abandons all aesthetic guidelines in order to embrace the mysteries of a universe that is both threatening and dazzling; that is, to take into account the whirlwind of another reality.
Julio Llinás (Buenos Aires, 1929), was an essayist, poet, and novelist that collaborated in the A partir de Cero [Starting from Zero] magazine (1952–56), founded by both poet Enrique Molina (1910–97) and critic Aldo Pellegrini (1903–1973). Llinás is a remarkable man in the 1950s Argentinean Surrealist generation. He also was the editor of the Boa journal (1958)—corresponding in Argentina of the Phases movement—of which only three issues were published. Married to visual artist Martha Peluffo (1931–79), he participated in 1957 of the Siete Pintores Abstractos [Seven Abstract Painters] group, which enticed a gestural surrealistic approach supported by both Pellegrini and Llinás. During the same year as this essay, Llinás published La Ciencia Natural [The Natural Science] (Buenos Aires: Boa, 1959). In Llinás’s activities as an art critic, his performance in 1963 as commissioner of the Argentinean curatorial project to the VII Bienal de Arte de São Paulo [Seventh São Paulo Biennial] was outstanding.
This document is quite important for understanding the different aspects of the artistic renewal of the 1950s and, particularly, the local impact of the neo-vanguards. On the other hand, the text by Llinás introduces an interesting analysis about both Art-right-now and the artist’s behavior, both already visualized the situation of openness throughout the 1960s.