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.
Rafael Squirru introduces Luis Benedit’s exhibition (Galería Lirolay, Buenos Aires, June 1961), noting the similarity between his work and the paintings of the Frenchman, Jean Dubuffet, though it is only as a source of inspiration for his own hilarious characters. Squirru concludes by predicting the emergence of a new artist.
Luis Fernando Benedit (1937) was an Argentine painter and architect born in Buenos Aires. During his earliest period he was influenced by Informal-ist painting. In 1963, a trip to Spain made a deep impression on his production, and from that time on he set about creating a narrative view of the image. Rafael F. Squirru (1925) is an Argentine poet and critic. He studied law at the Universidad de Buenos Aires and received his degree later in Edinburgh. Squirru was the founder and first director of the Museo de Arte Moderno de Buenos Aires and, in 1957, he started a publishing house named Ediciones del Hombre Nuevo [New Man Editions]. For the first three years after it opened in 1960, Derbecq herself was consulting for the Galería Lirolay, owned by Mr. and Mrs. Fano, a French couple of Jewish birth. Because young artists were being selected and promoted there every two weeks, the gallery developed a name for spotting new forms of artistic expression, opening its space to many budding artists who held their first solo shows within those walls. This document explores emerging visual arts of the period, the ones that had not yet been swept up into the institutional circuit in Argentina. In this case, the focus is on Benedit's first solo exhibition, presented under the aegis of the Museo de Arte Moderno in Buenos Aires, which did not yet have a building in which to present exhibitions. Keeping in mind the above, it should be noted that Squirru signs the prologue as the Director of the museum.