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.
Jorge Romero Brest introduces the exhibition of works by Carlos Melano and refers to Melano’s predilection for art in search of an audience that sees the world as he does. Romero Brest claims to have accepted the risk of presenting such a narcissistic artist because he believes he will not let him down, though he does not guarantee that the artist will remain in the field of visual arts.
Carlos Melano (1940) is an artist born in the city of Varillas, in the Province of Córdoba, Argentina. He began his academic career by studying architecture, but then switched to art. During the 1960s, Melano worked as a designer for Gacetika, the magazine of the Industrias Kaiser Argentina, the carmaker company, which was published by its public relations arm in the city of Córdoba. Jorge Romero Brest (1904-89) was a critic whose work appeared in many newspapers and magazines. In his role as cultural promoter he launched a magazine titled Ver y estimar [To See and Ponder], which was published from 1948 to 1955. Also he was the Director of the Museo Nacional de Bellas Artes and, in the 1960s, became Director of the Center for the Visual Arts at the Torcuato Di Tella Institute. Natalio Jorge Povarché opened the Galería Rubbers in Buenos Aires in 1957, and he has been overseeing it ever since. During this period, Romero Brest had written the prologue for the Primer Festival de Formas Contemporáneas [First Festival of Contemporary Forms], which opened on October 15, 1966, as part of the Third American Biennial of Art in Córdoba, with an exhibition of works by Buenos Aires artists and the support of the local organizers (María Rosa Roca, Rodolfo Imas, Felipe Yofre, and Oscar Brandán).