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.
The manifesto La visión elemental [The Elemental Vision] puts forth a Non-Illusionist theoretical position on the image: working with volumetric or flat forms, simple and concise, activating planes and volumes using pigmentation, the usage of flat and homogeneous color, the approach of a basic visual syntax, the recognition of a physical-chromatic-spatial tension, besides positing the production of objects that are sufficient in and of themselves due to their visual gist.
The artists César Ambrosini (1932), Gabriel Mesil (1934–86), César Paternosto (1931), Alejandro Puente (1933), Dalmiro Sirabo (1939), Juan Antonio Sitro (1929), and Enrique Torroja (1934–2001) sign the manifesto La visión elemental [The Elemental Vision]. Of this group, born from the Grupo Sí [Yes Group] of the Informalist school and operating out of the city of La Plata (capital of the Province of Buenos Aires), between 1960–62, Paternosto and Puente are most noteworthy.In 1964, Paternosto and Puente had a joint exhibition in the Lirolay gallery, presenting what was known as “new geometry.” Two years later, at Galería Bonino, they exhibit their works with formal evolution of the frames. In 1967, both artists lived in New York; Puente returned to Argentina in 1971. This exhibition, in the Museo Nacional de Bellas Artes consolidated their theoretical position about the primary structures of physical-chromatic-spatial tension. It was carried out by means of pigments that activate both the plane and the volume proposing thus the architectural integration of forms.