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.
Martí Casanovas relativizes the use of the term “avant-garde.” As applied in the Mexican context, it could be understood as the kind of “hermetic exclusivism” that defines art for art’s sake, which would deprive it of its impassioned connection to the social movement. The Catalan-born Cuban author stresses the social effectiveness of art, as long as its effectiveness is on a par with its value as a creation; as long as one avoids the distortion that allows “avant-gardism’ to be confused with ‘revolution.”
This article by the “treinta-treintista” Martí Casanovas—who had an important career in the Cuban avant-garde during the 1920s at the revista de avance—condemns the opportunism of certain academic intellectuals who congregate under the umbrella term “avant-garde.” This essay also points to the political radicalness of the following decade by using the term in a different manner, which highlights the “social and individual” ethic that was bolstered by the image of the revolution itself. A large swathe of post-revolutionary Mexican art therefore had been developed independently and on the fringes of the exchange of trends and nomenclatures that were drawn from international models.