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.
Schedule of activities and exhibitions for the Semana de arte avanzado [Advanced Art Week] in Argentina. The following entries stand out in the program: Experiencias visuales 1967 [the 1967 Visual Practices], the shows of Ernesto Deira (1928-86) and Ary Brizzi (1930) at Galería Bonino, the exhibition of vanguardist artists at Galería Lirolay, the Rosarino painters at the Museo de Arte Moderno in Buenos Aires, and Ramona de la caverna [Ramona of the Caves] by Antonio Berni, in Galería Rubbers.
Between 1955 and 1963, Jorge Romero Brest carried out a program for the updating at Museo Nacional de Bellas Artes [National Museum of Fine Arts], first as an inspector and later as its director. In 1963, he took over the Centro de Artes Visuales [Visual Arts Center] of Instituto Torcuato Di Tella, for which he already was a consultant. From this institution, he promoted the so-called “advanced” manifestations. The Semana de arte avanzado [Advanced Art Week] in Argentina is organized in Buenos Aires within the context of the Fifth International Prize of the Torcuato Di Tella Institute, including artists close to the centers linked to Instituto Di Tella: the Museo de Arte Moderno in Buenos Aires, and the main galleries of the city. The objective is to display, for the eyes of the guests from abroad, the most advanced manifestations of Argentinean art within an international context promoted by the Institute itself.
This document allows the understanding of both the 1960s artistic movements and all the institutional network that (locally and internationally) were formed, as well as the nexus between artists from Rosario and Buenos Aires, which later became the core of the 1968 politicization.