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 describes Leopoldo Torres Agüero’s work by saying that it is clearly by someone who understands that contemporary creative output does not represent individual expression as much as a manifestation of reality. The critic also refers to the Argentine artist’s experience with Eastern art and, by way of explanation, his choice of ink.
From 1955 to 1963, Jorge Romero Brest was a force for renovation at the Museo Nacional de Bellas Artes [National Museum of Fine Arts], initially as an administrator and then as the director. In 1963 he was named director of the Centro de Artes Visuales del Instituto Torcuato Di Tella [Instituto Torcuato Di Tella’s Visual Arts Center], where he was already an advisor. The critic frequently wrote about exhibitions of works by young artists at the Galería Bonino. Leopoldo Torres Agüero (1924–95) lived in Japan from 1959 to 1961, where he studied Zen Buddhism, which influenced his work during his abstract phase and his later geometric art period. He also spent time in Paris, where he died. He is an interesting artist in terms of understanding the impact of Asian art in Argentina, especially calligraphy and its connection with informal and abstract art. In this exhibition at the Galería Bonino, Torres Agüero presented drawings on fabric that are similar to calligraphy, inspired by his experience in Kyoto.