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 this article, the art critic Fabián Lebenglik reviews Tutti fruti, the exhibition of works by the photographer Alberto Goldenstein at the Centro Cultural Ricardo Rojas (October–November 1991). He discusses the works and compares them, at a conceptual level, with two of Goldenstein’s earlier shows—one of which was at the Centro Cultural Recoleta; the other, a group show, was at the Eduardo Sívori Museum.
The Centro Cultural Rojas gained considerable visibility in 1991–92. The artists involved began to receive invitations to show their work in key spaces such as the ICI (Instituto de Cooperación Iberoamericana) [Iberian-American Cooperation Institute], the Centro Cultural de España, as well as the Galería Ruth Benzacar. Their references to the poetics of the past—including Pop, minimalism, and concrete art (reformulated into very personal expressions), with a nod to kitsch—have emerged as the defining traits of the “Rojas artists.” By the late 1990s they were considered to be the representatives of Argentine art of the 1990s. Alberto Goldenstein (b. 1951) was one of the “Rojas group,” the artists who, from 1989 to the early 1990s were involved in the Galería del Centro Cultural Ricardo Rojas, a space on the fringes of the Buenos Aires art world. Goldenstein created the Photo Gallery there, and became the director in 1995. This article is significant because it documents one of the earliest exhibitions held at the Centro Cultural Ricardo Rojas.