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.
The art critic Samuel Paz wrote that art produced around 1959 was a pursuit rich with collective experiences, yet poor in individual outcome. In his opinion, rebellion today is mastering the path to “extroverted creation.” Although, contrary to this, the artwork of an introvert showed up: Clorindo Testa. His works of that moment had a lyrical dimension that appeared along with the whites and blacks; also the painting’s content deepened with the textures in which matter is highlighted.
Samuel Paz was a principal cultural promoter of the 1960-70s. Close to Jorge Romero Brest, he was part of the editorial board of the journal Ver y estimar [To See and Ponder] in the early-1950s; subsequently, Paz assisted him at Museo Nacional de Bellas Artes [National Museum of Fine Arts], and became the deputy director in the Centro de Artes Visuales [Visual Arts Center] at Instituto Torcuato Di Tella. Afterward, Paz had a curatorial practice at the MNBA, between 1972-80. The critic died in 2007.
This document shows the importance of Galería Bonino in the consolidation of the new trends of 1960s Argentinean art. This early Clorindo Testa exhibition (1923), with a prologue by the art critic Samuel Paz, points to the individual course taken by the artist and architect in the late-1950s with works regarding his rebuttal of color. In addition, the prologue by Paz presents some interesting questions, both about the individual artist and the collective experience, an axial issue in the arts of the following decade.