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.
Hugo Parpagnoli recounts the public controversy provoked by the Premio Di Tella awarded to the works of Luis Felipe Noé and Rómulo Macció, both members of the group Otra Figuración [Other Figuration]. Parpagnoli reflects that these works were presented to the public before people were prepared to understand them. Artistic rebellion is part and parcel with the artist who pushes the limits to crate his own rules. Following this idea, Parpagnoli analyzes the singularity of these works from while focused within the larger question around their beauty and value of the art whose creators promote their own aesthetic language.
Hugo Parpagnoli, the art critic of the newspaper La Prensa and contributor to the magazine Sur, was also the director of the Museo de Arte Moderno in the 1960s, continuing the foundational work started by Rafael Squirru. Among his curatorial work, the 1964 exhibition of Argentinean art at the Pepsi-Cola Building in New York stands out as a particularly important achievement.Romulo Macció and Luis Felipe Noé, together with Ernesto Deira and Jorge de la Vega, formed the group Otra Figuración, also known as Nueva Figuración. Their first exhibition (in which Carolina Muchnick and Sameer Makarius also participated) was held in 1961. From the end of that year until 1962 the artists settled in France. In 1963, two of them received support through awards from Instituto Di Tella, which is the subject of this document by Parpagnoli, one of the main public promoters of Informalism in Buenos Aires.