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.
Antonio Berni states his position on hyperrealism; he mentions the work of his surrealist stage in order relate the mechanisms of creation for photomontage and the collages from his Juanito Laguna series.
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 as well as 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 [Polygraphic 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 his paintings, collages and engravings—he created objects, installations and happenings; he also explored different stylistic variations of realist figuration.This document is important because it relates Antonio Berni’s position on hyperrealism of the 1960s, which he associates with social realism. It is also of interest because as presented in his solo exhibition at the Galería Imagen a relationship was established between his surrealist works of the period 1928–32 and the photomontages he created in Paris in 1974, which were vividly characterized by strong political and erotic content.