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.
Poet Julio Llinás writes about the works of Marta Peluffo (Galería Peluffo, 1958) by analyzing her desperation brought about by her “innermost explosion.” Most of all because it happens at the core of a modern art with its ongoing revolution and intervention, when the public expects is merely a refined and indulgent art. Llinás associates with Peluffo’s work an awareness and metamorphosis of matter.
Julio Llinás (Buenos Aires, 1929) was a distinguished poet of Argentinean Surrealism. In 1957, upon his return from Paris, where he had contact with Surrealist poets and artists, Llinás edited the magazine Boa, which was part of the Phases movement. This document is relevant because it helps one to understand the different aspects of the artistic renewal of the 1950s, in addition to the impact caused by Informalism in the local medium. This brief text by Llinás deals with matters that are central toward the end of the 1950s: the existential situation of the artist, the endless revolution, the reaction of the public, the awareness, the fragment and the matter, among others. Marta Peluffo, the first wife of Julio Llinás, was a distinguished member of the group Siete Pintores Abstractos [Seven Abstract Painters] (organized in 1957), in addition to Rómulo Macció, Clorindo Testa, Víctor Chab, Josefina Robirosa, Kasuya Sakai, and Osvaldo Borda, who, in 1958, all joined Phases.