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.
This interview focuses on the dispute between advocates for figurative art and those for abstract art; Raquel Forner represents the figurative contingent and Lidy Prati, a member of the new generation associated with Concrete Art, represents the abstract contingent.
Argentine painter Raquel Forner (1902–88) studied first at the Academia Nacional de Bellas Artes and then in Europe. Her work from the forties dealt with the drama of the Spanish Civil War and, in a change of course, her later work focused on space travel and the arrival of man on the moon.Lidy Prati (b. 1921) was born in Resistencia, a city in the Argentine province of Chaco. In 1944, she did illustrations for the magazine, Arturo, of which only one issue was published. She went on to form part of the Asociación Arte Concreto—Invención (AACI) [Association of Concrete Art and Invention]. She participated in the exhibitions of that group and in those held by the Grupo de Artistas Modernos de Argentina. This document has selected because it contains statements by a pair of artists representative of two opposing positions. The basis for the interview is the dramatic figurative work that characterized Forner’s production during the postwar period and the rigorous, geometric use of the line that characterized Prati’s brand of Concrete Art.