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 Guatemalan writer established in Mexico, Luis Cardoza y Aragón, focuses Emilio Amero’s work from a lyrical perspective. In fact, Amero weaves the “snapshot of the word” (poetry), with the photogram (a short space of light and emotion). To Cardoza, Amero’s photographs open windows and stimulate memory and imagination, stirring up far-flung fantasies. Amero knows that poetry is all around us, so that his snapshots make use of everyday objects, caught in an instant. The values of the objects undergo changes, both familiar and remote, until they are all mixed together in a jumble.
This exhibition brought together Carlos Mérida (1891-1984), an artist/critic and a man of letters, and Luis Cardoza y Aragón (1901-1992), both Guatemalan born and well recognized in the Mexican cultural milieu of the time. The fact that both were involved shows the significance both men attributed to the work of Emilio Amero (1901-1976). Cafés and bookstores were common spaces in which to show avant-garde artwork; in this case, the Librería Posada [Posada Bookstore] was the site of the exhibition. Amero was among the devoted creators of photograms, an old technique rediscovered by the Hungarian László Moholy-Nagy on his own around 1920 in Europe and later disseminated through his courses at the Bauhaus.The Mexican photographer not only was associated with this photographic technique but, venturing into another field, became entangled in making experimental film shorts with a primary focus on everyday objects in a high-contrast style.