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.
In his presentation, Samuel Oliver discusses the new order involved in building form with its own defining formal attributes. He supports his proposal with simple volumes and takes advantage of pure, highly visible colors. The forms are built into the wall or the floor as habitable architectural structures.
Samuel Oliver was an art critic and the director of the Museo Nacional de Bellas Artes [National Museum of Fine Arts] in 1967 when he spoke on the theoretical position of artists who supported the idea of non-illusionist forms at a time when the Instituto Torcuato Di Tella was presenting several visual experiences, among which Oliver noted the impact of primary structures. The manifesto for the La visión elemental [Elementary Vision] exhibition was signed by the following artists: César Ambrosini (born 1932), Gabriel Mesil (1934–86), César Paternosto (b. 1931), Alejandro Puente (b. 1933), Dalmiro Sirabo (b. 1939), Juan Antonio Sitro (b. 1929), and Enrique Torroja (1934–2001). This group’s roots go back to the Grupo Sí (1960–62), an Informalist group from the city of La Plata, the capital of the province of Buenos Aires. Indeed, the outstanding artists in this group were Paternosto and Puente. In 1964 these two artists had a joint show at the Lirolay Gallery in Buenos Aires, where they presented the so-called “new geometry.” Two years later they showed their work at the Galería Bonino, where their formal development was evident on their canvases. Both artists settled in New York in 1967; only Puente returned to Argentina, in 1971. This exhibition at the Museo Nacional de Bellas Artes consolidated their theoretical position concerning primary structures based on a physical-chromatic-spatial tension by activating planes or volumes with pigmentation, and proposing an architectural integration of forms.