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.
The art historian Francisco Reyes Palma briefly describes the construction of an image of 1930s Mexico in accordance with the aesthetic/political strategy of Surrealism. He starts by talking about the relationships that arose among the painter Diego Rivera, the French poet and Surrealist leader, André Breton, and the Soviet exile, Leon Trotsky. The writer explains how the lucky combination of these three personages mobilized the will, mutual admiration and competition that ultimately fostered the Surrealist movement in Mexico. Throughout the text, Reyes Palma keeps explaining how Surrealism played out in Mexico, emphasizing that although it was based on aesthetics, political overtones put it always in motion.
This text by the art researcher, Francisco Reyes Palma, makes reference to the manifesto ¡Por un arte revolucionario independiente! [For an independent revolutionary art!] written in tandem by André Breton (1896-1966) and Diego Rivera (1886-1957) along with Leon [Davidovich Bronstein] Trotsky (see doc. # 792914). Trotsky was the founding father of the FIARI [International Federation of Independent Revolutionary Art]. Breton and Rivera had the mission to be spokesmen for this federation, thus seeking to end the control exercised by Stalinist cultural fronts. Both men firmly believed that an authentically revolutionary power would not be able to direct or control artistic creation.