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.
Jorge Glusberg signed this text about Trans-Vanguard painting in Latin America, mentioning its expressive tradition, its formal precedents, stylistic characteristics, as well as contradictions and originality.
In this text, signed by Jorge Glusberg, he provides a theoretical framework for the Trans-Vanguard movement and postmodernism in Latin America, starting in Argentina with the works of Antonio Berni and followed by the exponents of Otra Figuración.
This text is important as a means to understand the changes experienced in Argentinean painting at the end of the military dictatorship. This includes the country’s rapid adaptation to the international scene and its participation in the global discussion about postmodernism and post-vanguard trends. It does so through its attempt to define what is Latin American.The rereading of the works by Berni and the Otra Figuración artists in order to sanction the new generation of Argentinean practitioners of painting, such as Guillermo Kuitca, Rafael Bueno, Pablo Bobbio, and Juan José Cambre. Also, it covers the 1960-1970s by including references to artists like Juan Pablo Renzi and Luis A. Wells. In this way, a justified genealogy of this movement is established, simplified by what Italian art critic Achille Bonito Oliva identified as a vernacular expressionism of the 1980s pictorial practices,. That is the foundation of Glusberg’s text. The Argentinean art critic Carlos Espartaco takes a similar approach by using the term "anavanguardia" [Counter-Avant-Garde].It has not been mentioned that the post-figurative group exhibition at the Museo de Arte Moderno works in the same sense. However, only if it stems from the realist artists that would be very difficult to include in the postmodern painting advocated by the above mentioned art critics. Berni’s broad focusing becomes the needed, encompassing bridge for Realism be included—despite his "style has lost its bearings."