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.
In his unfavorable review of an exhibition at the Galería Van Riel, Argentine art critic Eduardo Baliari argues that abstract art has yet to find a language of its own capable of providing “absolute freedom.” Baliari deems Informalism a form of expression lacking in skill, a passing fancy, and a frustrated attempt to frighten.
Eduardo Baliari was an art critic for the newspapers, Noticias Gráficas and Clarín, and for the magazine, Crisis, during its early days. In the eighties, he had a weekly column in El Economista. His most important essay is on painter Raúl Soldi (Buenos Aires: Ediciones Culturales Argentinas, 1966). This document is important as it outlines the debate surrounding Informalism, which had a major impact on the Argentine art milieu starting in the late fifties. Due to his belief that Abstract art had yet to achieve absolute freedom, Eduardo Baliari voices a negative opinion of Informalism in this essay. Thus, in Argentina, unlike the United States, Informalism was not bound to the notion of freedom.This document is a review of the first exhibition of the Informalist Movement in which the following artists participated: Kenneth Kemble (1923–98), Alberto Greco (1931–65), Enrique Barilari (1937–2002), Olga López (b. 1938), Mario Pucciarelli (b. 1928), Fernando Maza (b. 1936), Towas [Tomás Monteleone], and Luis Alberto Wells (b. 1939).