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.
Following an exhibition by Uruguayan painter Pedro Figari, Alfredo Chiabra-Acosta reviews the character of his pictorial production and considerations made about it by art criticism. Regarding the latter, he ponders that in view of such praise—“everything has been said”—Figari has been buried, canonized, and made into a “candidate for artistic sainthood.” About the artist’s work, besides considering his visual execution as poor, and in some ways redundant, Chiabra-Acosta criticizes his “pseudo-American” trait, in addition to his “literary” vein based on “historical pseudo-chronicles.” In this respect, his conclusion is that “regionalism and folklorism do not have anything to do with this. Only those who coexist with the aboriginal people…will be able to create, with authority, a true art expression…that can be truly called American.”
La Campana de Palo [The Wooden Bell] published its first six editions between June and December 1925. Following a time in which the journal was not published, it reappeared in September 1926, with a continuing enumeration but with a different format and the subtitle: Periódico Mensual. Bellas Artes y Polémica. [Monthly Journal. Fine Arts and Polemic.]. In this second phase, which continued until September-October 1927, eleven editions were published.
La Campana de Palo constituted one of the broadcasting organs for anarchist ideas of the group headed by Alfredo Chiabra-Acosta, also known by the pseudonym Atalaya, or At.