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Architects and theoreticians Diana Agrest and Mario Gandelsonas assert that the work of conceptual Argentinean artist Lea Lublin is a reflection in a practical state, since it unravels the mechanisms ruling the production of images in the representation system. They analyze the production mechanisms of the work Terranautas [Earthnauts] (1969), particularly from the point of view of its illumination and, later on, they interpret Fluvio subtunal [Sub-Tunnel Flow] (1969) as a multiple and sceno-graphical work.
Lea Lublin (Buenos Aires, 1929, Paris, 1999), a resident of Paris since the 1960s, was a distinguished innovative conceptual artist in Argentina, primarily known for her use of technology applied to art. The text in this document corresponds to the work Fluvio subtunal [Sub-Tunnel Flow] created for the inauguration of the subfluvial tunnel under the Paraná River connecting the cities of Santa Fe and Paraná, which is the capital of Entre Ríos Province. It was the most important work of engineering in the country at the time. The atmosphere created by Lublin was made possible by the patronage of the Instituto Torcuato Di Tella and the Asociación de Lucha contra la Parálisis Infantil [Association for the Fight against Children’s Paralysis]. As a matter of fact, the atmosphere of several installations intended to stimulate the viewers at that time, by means of proposals such as La menesunda [The Hodgepodge] (Marta Minujin and Rubén Santantonín, 1965), Importación-exportación [Importation-exportation] (Marta Minujin, 1968), Barbazul [Bluebeard] (Luis Fernando Benedit and Vicente Lucas Marotta, 1966), and Terranautas [Earthnauts] also by Lublin herself. This document was taken from the 1970 exhibition catalogue from Galería Carmen Waugh. In that show, she exhibited photographs of her works projected on moving screens that were created by Humberto Rivas, Pedro Roth, Fermín Cardona, Robert Phillips, and César Caldarella. Diana Agrest (1945) and Mario Gandelsonas (1938) are distinguished architects and urbanism theoreticians living in the United States. This document bears interest both because it is an early text by the aforementioned authors and because of the analyses that they carry out regarding the installation of Terranautas [Earthnauts] and Fluvio subtunal [Sub-Tunnel Flow], based on image production mechanisms. See the documents in Proceso a la imagen [Image Process] (documents no. 766873; 766884; and 766850). About Lea Lublin, also refer to the following texts: “De la rebelión a lo posible” [From Rebellion to What Is Possible] (document no. 762935) and “Bestias y explosiones” [Beasts and Explosions] (document no. 745062).