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.
The text sets out the general proposals of the GRAV (Groupe de Recherche d’Art Visuel) [Experimental Visual Arts Research Group] with respect to the relationships between the artist and society, the traditional value of visual art, as well as the artwork and the eye. Among the proposals, several stand out: to eliminate the artwork category and create “multiples” to free the public from inhibitions and mystifications; to eliminate the intrinsic values of the stable form; to displace the function of the eye toward a new visual situation; and to highlight both visual instability and time of perception.
The Groupe de Recherche d’Art Visuel (GRAV) [Experimental Visual Arts Research Group] was founded in 1960 in Paris and headed by some Argentinean artists with the aim to unify an undercurrent in the visual arts field and create a new relationship between the audience and the work of art. During its first year, the group comprised Hugo Demarco, Horacio García-Rossi, Julio Le Parc (Argentineans), Francisco García-Miranda, François Molnar, François Morellet, Sergio Moyano, Servanes, Francisco Sobrino, Joël Stein, and Jean-Pierre Yvaral. This group participated in the international movement Nouvelle Tendence [New Tendency]. It was disbanded in 1968 and its members continued their visual investigations and visual productions independently. This source has been signed by the GRAV, which at that time included García-Rossi, Le Parc, Morellet, Sobrino, Stein, and Yvaral. It documents the group’s internal discussions and disseminates GRAV’s proposals, which sprung from its members’ participation in the 2nd Biennale de París (1961), another biennial they had considered to be locked inside a formula, just like the exhibition’s official Salons.