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.
Américo Balán introduces Ester Pilone’s exhibition of drawings (Galería Rubbers, June 1961). Pilone works with tempera, and she exhibits a free, unrestrained technique. She smears her inked fingers across the paper, dragging small crumbs of material or crushing them with a spatula. As Balán points out, Pilone uses this process to create an economical language; her phrases are brief but extremely temperamental.
Ester Pilone was born in Cuneo (Italy) and studied at the Academia Nacional de Bellas Artes in Buenos Aires, Argentina. She has been exhibiting her abstract work in solo and group exhibition since the 1960s. Américo Balán (1915) was a printmaker, a painter, and a draughtsman. He was born in Russia, then immigrated in 1922 to Argentina, where he was a visual artist but also worked in the fields of animation, stage design, and illustration. He died in 1986. 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.