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.
Hugo Parpagnoli comments on the works both by Argentinean artists and by Antoni Tàpies, presented by the Torcuato Di Tella Institute at the Museo Nacional de Bellas Artes [National Museum of Fine Arts]. In addition, the critic argues that, in regard to the Di Tella Prize exhibition, many people asked themselves if those chosen to compete are the youngest, the best or always the same ones.
In 1960 and a few months after having created the Centro de Arte del Instituto Torcuato Di Tella (ITDT) [Art Center of the Torcuato Di Tella Institute]—directed by a Council made up of Lionello Venturi, Ricardo Camino, Guido Di Tella and Jorge Romero Brest—the ITDT Prize was made possible. The purpose of this center was to cooperate in the diffusion and promotion of the visual arts, and to keep in contact with other centers connected with production at both a national and an international level. Within this context, the Premio ITDT [ITDT Prize] was created in order to provide an opportunity for young Argentinean artists to enrich their experience abroad; nevertheless, its creation did not just allow for the awarding of the grant-prize, but also it spurred the circulation of international art in the local arena, becoming an important reference point for the visual arts renaissance of the time. This prize was awarded to national or international artists, with some variation depending on the year in question, until 1967. Beginning that year, it changed its name and became Experiencias Visuales [Visual Practices], and then just Experiencias [Practices] in 1968 and 1969.
This document shows the reaction to the processes of renovation of artistic language, promoted through the Torcuato Di Tella Institute Prize; especially as in regard to the participation of young artists linked to Informalism. It is interesting to note that this art critic from the La Prensa [The Press] newspaper and the magazine Sur [South] remained enthusiastic about the renewal in the visual arts that was “internationalizing” the local milieu.