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.
This letter from Gyula Kosice to Blanca Stabile explains that Tomás Maldonado was not a member of the board of directors of Arturo magazine, and refers to certain sources that document chronological details concerning the origins of the Argentine Concrete art groups.
Gyula Kosice (1924–2016), (the pseudonym used by Fernando Fallik) was born in Slovakia in 1924, and spent his working life in Argentina. He was co-editor of Arturo magazine and was a member of the Madí group. In the fullness of time he expanded his repertoire of experimental materials to include Plexiglas, glass, and neon gas tubes. He was interested in kinetics and, subsequently, used water in his kinetic experiments. Blanca Stabile de Machinandiarena (1911-1991) was an art critic and journalist who was also engaged in the defense of women’s rights. She was the Argentine ambassador to the United Nations and, in 1958, was in charge of the National Department for Women’s Social Safety and Protection at the Ministry of Labor and Social Security. Ver y estimar [To See and Ponder] magazine was published by Jorge Romero Brest with the help of a group of his students. It appeared thirty-four times between April 1948 and December 1953. Publication was interrupted for a few months, and then ten more issues appeared during its second incarnation, which lasted until October 1955. Damián Carlos Bayón was the head of the editorial department. This letter from Kosice appeared in the "Dialogue with our Readers." Blanca Stabile was in charge of that section, and she had made certain statements that Kosice responds to in his letter. This material was chosen because it records an explanation given by a member of the board of directors of Arturo, the first magazine published by avant-garde Concrete artists in Argentina. This letter also documents the power struggle between the various members of that avant-garde group.