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.
In his introduction to Enio Iommi’s exhibition (at the Galería Bonino, Buenos Aires, 1966), Aldo Pellegrini notes the artist’s awareness of space; that is, his approach to the object created in terms of its relationship to the surrounding void. He also mentions the refined treatment of surfaces and the multiplication of essential forms in all possible spatial directions.
Enio Iommi (b. 1926) is an artist born in Rosario,Argentina. He was one of the founding members of the Asociación Arte Concreto – Invención [Concrete Art and Invention Association], and was also involved in the Grupo de Artistas Modernos de la Argentina [Modern Artists of Argentina]. In 1977, Iommi presented an exhibition called Adiós a una época [Farewell to an Era] that heralded a profound change in his poetic art. Aldo Pellegrini (1903–73), also from Rosario, was a poet, playwright, essayist, and art critic, and was a moving force in Argentine cultural circles. He was an early promoter of surrealism, and directed several publishing projects. Pellegrini was also an active supporter and promoter of the various expressions of abstract act, and supported groups such as the Grupo de Artistas Modernos de la Argentina and the Asociación Arte Nuevo [New Art Association]. In 1946, the Italian Alfredo Bonino opened the Galería Domus in São Paulo; in 1949, he presented three exhibitions in Buenos Aires at the Galería Samos, before finally opening the Galería Bonino in 1951. In 1954 he expanded into the publishing field and opened the Editorial de Arte Galería Bonino. In the 1960s Bonino expanded again, to both Rio de Janeiro and New York. He was a pioneer in the Buenos Aires art market, especially in terms of advertising for exhibitions, organizing specific venues, and making contracts with artists. In the 1950s his gallery showed the work of artists who became famous during the visual arts renewal of the 1930s. In the following decade, however, he was promoting the work of Informalist artists and New Figuration Argentines, in synch with European and American artists on the international circuit.