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.
Edgardo Antonio Vigo explains the idea behind the Experiencias 69 I [Visual Practices 69 I] event that was organized at theCentro de Artes Visuales of the Instituto Torcuato Di Tella in Buenos Aires (September 5–14, 1969). He also outlines the differences between this one and the previous Experiencias 1967 and Experiencias 1968. Vigo goes on to describe and review the works presented by the artists who took part in the most recent event.
Luis Camnitzer (b. 1937) and Liliana Porter (b. 1941) worked together for many years. In 1964–65 in New York City, they and José Guillermo Castillo (b. 1938) started the New York Graphic Workshop(NYGW), a space where classes were held and other artists’ graphic works were printed. It was also a place where artists gathered to discuss printmaking and its role in contemporary society, which led to a variety of group projects. The workshop closed in about 1970. In 1969 the NYGW was admitted to the Latin American art circuit. According to Camnitzer (see “The New York Graphic Workshop,” doc. no. 785884), the exhibitions presented at the Museo de Bellas Artes [Museum of Fine Arts] in Caracas, the Museo de Bellas Artes in Chile, and at the Instituto Torcuato Di Tella in Buenos Aires, were arranged as part of a strategy to insert Latin American artists into the challenging arena of the New York circuit. But first, of course, they had to be recognized in Latin America. Indeed, the Experiencias [Visual Practices] were organized by the Centro de Artes Visuales at the Instituto Torcuato Di Tella on three separate occasions: 1967, 1968, and 1969. Edgardo Antonio Vigo (1928–1997), a noted Argentine visual artist, founded the magazine Diagonal Cero. This document is relevant because it is one of the few critical reviews of Experiencias 69 I[Visual Practices 69 I] published at the time (September 1969). Camnitzer and Porter were involved in the event, each of them creating an installation and presenting an “exhibition” of mail art. (See: Muestra de arte postal de Liliana Porter [Exhibition of mail art by Liliana Porter] presented at Experiencias 69 I, doc. no. 773755.)