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 text, which makes up the exhibition catalog Expone Marcelo Pombo. Producción 88–89 (Buenos Aires: Centro Cultural Ricardo Rojas, October 3–18, 1989), Jorge Gumier-Maier interprets and describes Pombo’s work. He links it to everyday and mundane fantasies, and connects it to decoration and scholastic visuality, among other characteristics.
Marcelo Pombo (1959–) is one of the artists who was part of what was later called the “grupo de el Rojas,” meaning the ones that the Galería del Centro Cultural Ricardo Rojas—a fringe space since inception in the Buenos Aires art scene—sponsored between 1989 and the early 1990s.
Between 1991 and 1992 “el Rojas” acquired an important visibility, while its artists began to be included in the programming 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.”
Jorge Gumier-Maier, an artist and art critic, was at that moment director of the Galería del Rojas.
This document is relevant as an example of the “informality” that surrounded “El Rojas” since inception. The invitations / catalogs of the exhibitions consisted of this type of low budget flyers. On the other hand, it documents one of the first shows produced in the Galería del Rojas (inaugurated in the middle of July 1989).