Berni, Antonio. "Arte y sujeto." Forma: revista de la sociedad argentina de artistas plásticos (Buenos Aires), August 1938, 6.
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Antonio Berni writes about the development of modern art since impressionism, focusing in particular on both Paul Cézanne and cubism. In particular, his analysis of surrealism stands out. The artist likewise analyzes the dehumanization of art, pure art and social art.
One of the most outstanding creators in 20th century Argentina is undoubtedly the Rosario born Antonio Berni (1905-81). He studied in Europe beginning in 1925, [and] while living in Paris he connected with the surrealist avant-garde and with communism. Upon his return to Argentina, he exhibited surrealist works at the Amigos del Arte [Friends of Art] in 1932. The following year Berni joined the Equipo Polígrafo [Polygraph Team] (organized by David Alfaro Siqueiros) that went on to create the mural Ejercicio Plástico [Visual Arts Exercise] at Don Torcuato, in the outskirts of Buenos Aires.. He developed his theory of Nuevo Realismo [New Realism], art with a political and social commitment, which was based on a transcendent realism. In 1944, Berni formed the Taller de Arte Mural [Mural Art Workshop]. During the 1950s, he created paintings of the peasantry, in particular those of the northern province of Santiago del Estero, which gave rise to his Juanito Laguna series of narrative collage paintings. In 1962, the artist won the Grand Prize for Engraving and Drawing at the Venice Biennale. The following year, Berni began his Ramona Montiel series. During the 1960s and 1970s—at the same time that he was continuing to produce paintings, collages and engravings—he created objects, installations and happenings; he also explored different stylistic variations of realist figuration.In this document Berni incorporates a pictorial distinction to his theory of new realism: that of trade, which goes beyond subject matter, afterward providing a genealogy of art as the search for an objective and technical truth. The historical development that Berni presents is the most traditional one: impressionism, Cézanne, cubism, surrealism.This document allows for a clear understanding of the direct relationship between surrealism and realism, as understood by Berni himself.