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.
Hugo Parpagnoli declares that he does not have much to explain about Barbazul [Bluebeard]. Because it is only a story; the public should just go in and have fun. The exhibition evolves over time, like a theatrical play in which the spectator walks and the scene stands still. The exhibition is a setting prepared by Luis Fernando Benedit and Vicente Lucas Marotta (1966); in fact, a step into the poetic gratuitousness of things in daily life.
Hugo Parpagnoli, art critic, was the director of the Museo de Arte Moderno at the time this work was presented, when the spreading of pop art in Buenos Aires is viewed as an aesthetic of the great metropolis during the middle of the 1960s. Luis Fernando Benedit (1937) and Vicente Lucas Marotta (1929–1994)—later linked to the concept art called Grupo de los Trece [Group of the Thirteen], sponsored by the Centro de Arte y Comunicación (CAyC) [Art and Comunications Center]—presented a 600 square feet setting titled Barbazul [Bluebeard]. The spectators would walk through it following a script, enhanced by music composed by Miguel Angel Rondano, then a scholarship student at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) The Latin American Center for Advanced Studies in Music at Instituto Torcuato Di Tella.The characters of Charles Perrault’s traditional short story were made in galvanized tin and scrap iron (Benedit) and in cement, with a structure of unfolded iron and metal (Marotta), and lacquered and enameled in bright colors afterward. This environment/setting relates to others from the same period, such as La menesunda [The Hodgepodge] (1965, Marta Minujin and Rubén Santantonín), Importación-exportación [Import-Export] (1968, Marta Minujín), and Terranautas [Terranauts] (Lea Lublin, 1969).
Both Benedit and Marotta share a strong irony and humor in their works during that decade. Marotta preserving it throughout the 1970s; Benedit, on the contrary, upon returning from his scholarship studies in Rome (1968), began what would define his later career: the experimentation with “hábitat artificial” [artificial habitat]. Marotta, distancing himself from the CAyC by the middle of the 1970s, worked on parodical sculptures until he abandoned his artistic practice because of strong bouts of depression. Finally, the artist was enrolled at a hospice in 1986.