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.
Text from the catalogue of the Alfredo Londaitzbehere. Mapas y Pinturas exhibition, organized at the Centro Cultural Ricardo Rojas from July 31 to August 22, 1989. It displays the artist’s career, in addition to his personal data and a list of the works being displayed.
When it comes to the understanding of the 1990s Argentinean art, the Centro Cultural Ricardo Rojas stands out as one of its cornerstones. Founded in 1984, it is a cultural extension of the Universidad de Buenos Aires in which various activities, such as courses, conferences, and movie cycles, etc. were developed. Some years after inception, the Galería del Centro Cultural Ricardo Rojas was created in 1989 in the entrance hall to the campus, directed by artist and art critic Jorge Gumier-Maier. Magdalena Jitrik joined him shortly thereafter as an assistant. In 1997, Alfredo Londaibere himself assumed the leadership. What began as an underground space within the Buenos Aires artistic scene immediately developed great visibility between 1991 and 1992. The artists from “El Rojas” (Fabián Burgos, Graciela Hasper, Feliciano Centurión, Martín Di Girolamo, Alberto Goldestein, Sebastián Gordín, Miguel Harte, Agustín Inchausti, Luis Lindner, Nuna Magiante, Emiliano Miliyo, Esteban Pagés, Ariadna Pastorini, Marcelo Pombo, Cristina Schiavi, Enrique Marmora, Sergio Vila, Benito Laren, Omar Schiliro, and Alfredo Londaibere, Liliana Maresca, among many others) began to be incorporated into the programs of key exhibition spaces, such as the ICI (Instituto de Cooperación Iberoamericana), the Centro Cultural de España, and the Galería Ruth Benzacar.
The reference to poetics of the past, such as Pop art, minimalism, Concrete art (under extremely personal reformulations), besides elements of kitsch, have helped to characterize the resources of expression of such artists. Toward the end of the decade, the artists who made up “el grupo del Rojas” were grouped, in a generic manner, as the representatives of the “1990s Argentinean art.”
This document is relevant as an example of the “informality” that circulated in “El Rojas” since inception. The shows’ invitations / catalogues consisted of this type of low budget leaflet. On the other hand, it documents one of the first exhibitions produced in the Galería del Rojas (inaugurated in the middle of July 1989).
Through the presented Londaibere curriculum, the short career of the artists that exhibited in that space is evident. In this sense, please see the review about “El Rojas,” published by Página/12 on Tuesday, August 8, 1989, titled “El Rojas como centro,” in which this show is mentioned (record 770168).
Alfredo Londaitzbehere would later modify his family name to the artistic name of Londaibere.