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.
Wolfgang Paalen claimed that Surrealism helped him to experience a total synthesis that denied any arbitrary separation between the visual arts and poetry, as well as between poetry and life. In his opinion, this movement offered the only working hypothesis for a group activity of this kind that was ideally suited to giving free rein to the most beautiful of human abilities, which also happened to be the most neglected. Faced with the steady disintegration of every kind of “-ism,” Paalen thought it was high time for a rigorous review of any art that presumed to decide man’s place in the universe and the artist’s place in our world. According to Paalen, the Surrealist’s function was to keep creating essential works without being overly concerned about defining the artist’s role in the current world, or attempting to explain art’s raison d’être.
DYN magazine (1942-44) was conceived as an alternative to the ideological views espoused by the early group of Surrealists led by André Breton (1896-1966). It was a vehicle for a number of artists who were interested in expressing their aesthetic ideas and discussing artistic proposals that would gradually lead to innovative forms of creation such as Abstract Expressionism. Six issues of the magazine were published over a period of three years, and the contents consisted mainly of reviews of contemporary painting and a variety of Surrealist poems. The magazine also featured illustrations by the editor, Wolfgang Paalen (1905-59), and Alice Rahon (1904-87), and photographs by Manuel Álvarez Bravo (1902-2002), among others. It is interesting to note that the magazine also published works by artists and writers who were still relatively unknown in Mexican circles, such as Anaïs Nin and Marc Chagall.