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 Jorge Marcio Gentilini’s exhibition at the Galería Lirolay (Buenos Aires, September 1961), Manuel Mujica Láinez notes that this young artist, who specializes in the art of fire, has already been admitted to the circuit of both Salons and Prizes. He goes on to say that the dramatic power of Gentilini’s work demonstrates his artistic potential.
Manuel Mujica-Láinez (1910-84) was born and died in Buenos Aires. He wrote more than twenty books (novels, stories, biographies, poems, travel chronicles, and essays), among which are worth mentioning: Misteriosa Buenos Aires [Mysterious Buenos Aires], Los ídolos [The Idols], La casa [The Home], Invitados en el paraíso [Guests in Paradise], Bomarzo, El unicornio [The Unicorn], El viaje de los siete demonios [The Seven Imps Voyage], El brazalete [The Bracelet],and El escarabajo [The Beetle]. On the other hand, as an art critic, he was linked to important galleries: Witcomb and Bonino, among them. He also held several official posts, such as general director of cultural relations of the MREC, the Argentinean Foreign Office. 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 into the institutional circuit in Argentina. On this occasion, the subject is the first solo exhibition for Jorge Marcio Gentilini, a young twenty-three-year-old artist, painter and ceramist. He was one of the students of Clorindo Testa at the Faculty of Architecture.