Topic Descriptor: Art Informel×
  • [Como señala mi amigo Edouard Jaguer...]
    Brughetti, Romualdo; Llinás, Julio
    1963
    In this prologue to the catalog on the Argentine artists who participated in the VII Biennial of São Paulo, Julio Llinás points out the profusion of abstract or informal works that are found alongside more current international trends. He believes [...]
    ICAA Record ID: 758702

  • [Cuando hace dos años...]
    Romero Brest, Jorge
    1963
    Jorge Romero Brest introduces the artists Ernesto Deiro, Rómulo Macció, Luis Felipe Noé, and  Jorge de la Vega as a collective group. He points out the commonalities that the artists have with Informalism, such as a liberated approach to things [...]
    ICAA Record ID: 741409

  • [Discutir el arte es discutir el hombre...]
    Squirru, Rafael, 1925-
    1960
    Rafael Squirru wrote that the Argentinean artist, Kenneth Kemble was a restless artist, who worked ceaselessly in any of his aesthetic searches. Squirru considers that to talk about aa artwork is tantamount to discussing the man; therefore, he [...]
    ICAA Record ID: 741836

  • [En Buenos Aires, a los nueve días del mes de agosto...]
    Romero Brest, Jorge; Sandberg, William; Lassaigne, Jacques
    1963
    The jurors of the Premio Instituto Torcuato Di Tella 1963, Jorge Romero Brest, Jacques Lassaigne, and William Sandberg, awarded the Premio Nacional [National Prize] to Luis Felipe Noé for his work and in particular, Introducción a la esperanza [ [...]
    ICAA Record ID: 758230

  • [En Buenos Aires, a los veintiocho dias del mes de septiembre...]
    Restany, Pierre; Greenberg, Clement, 1909-1994; Romero Brest, Jorge
    1964
    The jury appointed to judge the 1964 Premio Instituto Torcuato Di Tella [Torcuato Di Tella Institute Prize]—whose members included the critics Jorge Romero Brest (Argentina), Clement Greenberg (United States), and Pierre Restany (France)—decided [...]
    ICAA Record ID: 762276

  • [Entre la tradición y la libertad se ubican los artistas argentinos...]
    Brughetti, Romualdo; Llinás, Julio
    1963
    This text presents each of the artists who represented Argentina in the VII Biennial of São Paulo (1963). It briefly describes the characteristics of their work and identifies the variety of visual arts languages and the subtlety that “califica a [...]
    ICAA Record ID: 758678

  • [Escribir sobre Kenneth Kemble...]
    Squirru, Rafael, 1925-
    1963
    Rafael Squirru wrote that Kenneth Kemble’s oeuvre exemplifies the artist’s struggle to develop within a hostile milieu, given that Argentina was not sufficiently contemporary to understand the work produced by this Informalist artist. Squirru [...]
    ICAA Record ID: 741669

  • [Esta muestra tiene características de exposición retrospectiva...]
    Kemble, Kenneth, 1923-
    1960
    Kenneth Kemble presents the works he created since 1956. He explains the collage from his point of view. arguing that the search for experimentation with application of new materials is fundamental in the new visual arts. Unlike the surrealist [...]
    ICAA Record ID: 741334

  • [Este 1959 ha tenido sin duda muy especial significación...]
    Noé, Luis Felipe
    1959
    Luis Felipe Noé states that the work of Fernando Maza is connected to the rise of a vital artistic trens, and that it implies a maturing of expression in the visual arts of Argentina. In his opinion, Maza[both connects himself to and differentiates [...]
    ICAA Record ID: 740649

  • [La difusión actual del surrealismo...]
    Pellegrini, Aldo
    1967
    The critic considers that the relevance of Surrealism lies in the fact that it is not an artistic but an ideological movement; it is in art where it finds itself justified. Pellegrini analyzes, among others, several aspects such as humor, desire, [...]
    ICAA Record ID: 745141

  • [Leopoldo Torres Agüero merece más, mucho más...]
    Romero Brest, Jorge
    1963
    Jorge Romero Brest describes Leopoldo Torres Agüero’s work by saying that it is clearly by someone who understands that contemporary creative output does not represent individual expression as much as a manifestation of reality. The critic also [...]
    ICAA Record ID: 768904

  • [Letter] 1961 octubre 12, Buenos Aires [to] Alberto Greco
    Pirovano, Ignacio
    1961
    Ignacio Pirovano wrote a brief letter to Alberto Greco on the impact his exhibition Las Monjas [The Nuns] had had on him; he considered the works to be an eerie testimony of the current era. Furthermore, Pirovano considered that with this exhibition [...]
    ICAA Record ID: 766486

  • [Letter] Roma, [to] Guido Di Tella, 6 de mayo de 1962
    Pucciarelli, Mario, 1928-
    1962
    Mario Pucciarelli, the Argentine artist who won the Premio Instituto Torcuato Di Tella in 1960, writes to Guido Di Tella about his opinions on the new guidelines established by the 1962 Premio, with particular regard to the prize stipend and the [...]
    ICAA Record ID: 755867

  • [Los cinco pintores que me honro en presentar...]
    Romero Brest, Jorge
    1960
    Jorge Romero Brest begins his text with theoretical definitions about art’s meaning, perceived as an entity that has its own being. In his opinion, the artist becomes a trigger for an expression that is always being, in addition to the experience [...]
    ICAA Record ID: 762815

  • [Me complace destacar a estos jóvenes artistas...]
    Romero Brest, Jorge
    1965
    In this article, the Argentine critic Jorge Romero Brest compares and contrasts the work of two young artists—Luis Alberto Wells and Pérez Celis—and suggests that they both create something “innovative” and thus connect to what “is real [...]
    ICAA Record ID: 768933

  • [Nelson Blanco y Carlos Pacheco, ganadores ambos del Premio Braque...]
    Yurkiévich, Saúl, 1931-
    1965
    Poet and essayist Saúl Yurkiévich identifies Nelson Blanco and Carlos Pacheco as two figurative artists who react against Informalism, although he tracks the influence of chromatic geometry in both. For Yurkievich, the dynamics of new painting [...]
    ICAA Record ID: 762759

  • [Todo verdadero artista se busca a lo largo de su vida...]
    Bayón, Damián
    1957
    Damián Bayón writes about the work of Argentinean-Japanese artist Kasuya Sakai by analyzing his different stages; that is, concerning the harmony of contrasting colors; the influence of Hartung and calligraphy; black forms in a more complex [...]
    ICAA Record ID: 768981

  • A fearful game of head hunting
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble is caustic in his article about the group exhibition involving Otra Figuración[Other Figuration] carried out by the Galería Peuser. Ironically, he proposes a game of counting heads amongst the paint spills, adding that children [...]
    ICAA Record ID: 741060

  • A panorama of Argentine art
    Kemble, Kenneth, 1923-
    1963
    Kenneth Kemble praises the exhibitions of three artists: Pablo Curatella Manes, Carlos Squirru, and Kazuya Sakai, all from quite dissimilar generations, different racial origins and artistic influences. These differences make it possible to sketch a [...]
    ICAA Record ID: 741288

  • Alberto Greco, ¿pintor espectáculo?
    Torre, Dora de la
    1961
    Dora de la Torre wrote about the exhibition Las Monjas [The Nuns] by Alberto Greco at the Galería Pizarro, pointing to the artist’s success; moreover, signaling him as head of Informalism, someone whose jeers were taken seriously by the critics. [...]
    ICAA Record ID: 766456

  • Algunas reflexiones sobre la pintura actual
    Vela, Rubén
    1961
    Rubén Vela writes about the relationship of Argentine artists to international art. He believes that Argentine artists are working on a purely aesthetic plane of creation. He studies the Juanito Laguna series in Antonio Berni’s work, previously [...]
    ICAA Record ID: 779972

  • Apuntes para un ensayo acerca del informalismo
    Schóo, Ernesto
    1961
    The critic Ernesto Schóo points out the significant texts on Informal Art up to that time. Schóo undercores the contradictions between the authors’ concepts, for which art is defined by formal will, spurring Schóo to criticize the term “ [...]
    ICAA Record ID: 741520

  • Arte : ¿Es una desventaja haber hecho el servicio militar, en pintura?
    Varela, Lorenzo
    1963
    Within the context of a journey through exhibitions open in Argentina at the time, Lorenzo Varela points out the singularity of an exhibition in which both the human figure and reality as a motive prevail, in overt opposition to the Informal art [...]
    ICAA Record ID: 762210

  • Arte destructivo
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble tackles the authorship of an idea of destructive art, which is more an experimentation than an -ism. In his view, destructive art evokes the diversity of man’s essential needs: destruction as emotion, the pleasure and the [...]
    ICAA Record ID: 741463

  • Arte nuevo y movimiento informalista
    Parpagnoli, Hugo
    1959
    Hugo Parpagnoli ponders both the Fifth Annual Exhibition of New Art at Galería Van Riel and the Informal Art trend show at Museo Sívori; both of which demonstrate how Informal art painting has captivated the new generation. Parpagnoli describes [...]
    ICAA Record ID: 741694

  • Arte signográfica
    Pedrosa, Mário
    1959
    Mário Pedrosa establishes his position on non-geometric abstract trends in this text. Specifically, he is in favor of what he calls “arte signográfica” [art using graphic symbols], and he openly opposes the informal(ist) trend. In his judgment [...]
    ICAA Record ID: 1085678

  • Artes plásticas
    Noé, Luis Felipe
    1956
    Luis Felipe Noé highlights the work of architect Clorindo Testa: his conception of movement in space as well as his existential affirmation.  On the other hand, he points out Gertrudis Chale’s preoccupation with the existence of man in the Andean [...]
    ICAA Record ID: 739941

  • Artes Plásticas : arte y expresión
    Roland, Alfredo
    1961
    Art critic Alfredo Roland affirms that traditional painting required a certain degree of skill. In his judgment, Informal Art and other cultural expressions of the time seem to have completely done away with this element. Roland ponders this aspect [...]
    ICAA Record ID: 757822

  • Artes Plásticas : dos pintores del concurso Di Tella
    Parpagnoli, Hugo
    1963
    This text by Hugo Parpagnoli analyzes the works presented by Luis Felipe Noé and Rómulo Macció. He states that the controversial atmosphere that arose from these works—awarded by the ITDT [Instituto Torcuato Di Tella]—proves that they were not [...]
    ICAA Record ID: 762225

  • Artistas Jóvenes en la Exposición Di Tella
    Parpagnoli, Hugo
    1961
    Hugo Parpagnoli comments on the works both by Argentinean artists and by Antoni Tàpies, presented by the Torcuato Di Tella Institute at the Museo Nacional de Bellas Artes [National Museum of Fine Arts]. In addition, the critic argues that, in regard [...]
    ICAA Record ID: 763938

  • Bestias y explosiones de Lea Lublin
    Pellegrini, Aldo
    1963
    This introductory text for Lea Lublin’s work emphasizes that the formal and informal universes are contrasted in her paintings, as are violence and lyricism in order to reflect the panic of a world populated by monsters and threatened by [...]
    ICAA Record ID: 745062

  • Cuadros y exposiciones : óleos y collages de Kemble
    Hernández Rosselot
    1960
    Hernández Rosselot writes about an interview he had with Kenneth Kemble at the artist’s exhibition at Galería Lirolay (December 1960). While interviewed, Kemble discusses his passion for music and points out the three paths of his work: collage, [...]
    ICAA Record ID: 741632

  • Da abstração a auto-expressão
    Pedrosa, Mário
    1959
    In this essay the noted Brazilian art critic Mário Pedrosa discusses the Informalist Abstraction, also known as “voga tachista” [Tachisme vogue or fashion], of the late 1950s. The critic deplores this style, complaining that tachist painters [...]
    ICAA Record ID: 1085707

  • De la Vega o la realidad del espejismo
    Derbecq, Germaine
    1961
    Germaine Derbeqc, the French artist, introduces Jorge de la Vega’s exhibition by acknowledging his ability to invent languages that translate what is real. She also refers to de la Vega’s earlier periods during which his work gradually changed, [...]
    ICAA Record ID: 764788

  • Do "informal" e seus equívocos
    Pedrosa, Mário
    1959
    Brazilian art critic Mário Pedrosa writes this article in response to a text published in the press by Jaime Maurício, another critic who had expressed his “dislike” for the term “informal(ist),” which was used to designate some non- [...]
    ICAA Record ID: 1085759

  • El arte informal y el arte de hoy : un artículo muy remozado y reflexiones nuevas
    Romero Brest, Jorge
    1963
    The critic reflects on Informal art by summarizing the different names that it has been given: art autre, action painting, art informel, art brut, etc. Romero Brest proposes to call it either Virginal or Un-constructive art, even though he deems [...]
    ICAA Record ID: 757816

  • El corazón de la explosión
    Llinás, Julio
    1958
    Poet Julio Llinás writes about the works of Marta Peluffo (Galería Peluffo, 1958) by analyzing her desperation brought about by her “innermost explosion.” Most of all because it happens at the core of a modern art with its ongoing revolution [...]
    ICAA Record ID: 768996

  • Ernesto Deira
    Pellegrini, Aldo
    1964
    In this article Pellegrini affirms that as long as artists perceive that the image conveys an instantaneous message, and the researchers remark that we live in a “visual era,” the visual arts will be at the pole of maximum attraction of a culture [...]
    ICAA Record ID: 745303

  • Evolución del arte moderno en la Argentina
    Pellegrini, Aldo
    1965
    Pellegrini's text remarks that during the nineteenth century, Argentine art mainly adapted to academic patterns. For the later evolution of Modern art, the critic adopts a division based on three fundamental periods: first, the artists who absorb [...]
    ICAA Record ID: 745452

  • Exposición de arte no figurativo
    1960
    This is of the checklist of the groups included in the Exposición de arte no figurativo [Exhibition of Non-Figurative Art] (1960): they were Asociación de Arte no figurativo [Association of Non-Figurative Art], Arte Nuevo [New Art], Grupo Buenos [...]
    ICAA Record ID: 762859

  • Falso y probable informalismo
    Azcoaga, Enrique
    1961
    Enrique Azcoaga, a Spanish art critic, discusses the term informalismo. He defines that the quality of this type of painting is determined by its expressive power and its capacity to suggest an elevated sense of perception. Azcoaga carefully [...]
    ICAA Record ID: 741376

  • Fundamentos de una estética de la Destrucción
    Pellegrini, Aldo
    1961
    As an introduction of the exhibition on arte destructivo [Destructive Art], Aldo Pellegrini wrote about the meaning of destruction, a mechanism associated with construction, just as it is perceived through observable changes in nature. Destruction, [...]
    ICAA Record ID: 741492

  • Good taste but not really great art
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble writes about the collective art exhibition at Galería Bonino (Buenos Aires) by artists Martha Peluffo, Jorge de la Vega, Juan C. Badaracco, and Rómulo Macció. He introduces them as the new academy of good taste, with the exception [...]
    ICAA Record ID: 740941

  • Hacia las grandes fuentes
    Llinás, Julio
    1959
    Toward the end of the 1950s, Julio Llinás defines the current times as ones of total convulsion, which implies the growth of a new state of awareness. He critiques Tachism, calling for an ongoing, always renewed experimentation that is alive and [...]
    ICAA Record ID: 762784

  • It's a woman's week in art
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble writes about the exhibitions taking place in several galleries. By observing the works of five female artists, he is able to analyze the variables in Argentinean art at that moment. Based on a formal analysis of this production, he [...]
    ICAA Record ID: 740918

  • La pintura de López Anaya
    Noé, Luis Felipe
    1960
    Luis Felipe Noé wrote on the difficulty of an artist understanding the work of another painter, which, in his opinion, required a relinquishing act. Noé’s interpretation of the works of Jorge López Anaya, seen within an Informalist trend context [...]
    ICAA Record ID: 740635

  • Na pintura, a arte plena de Iberê
    Gullar, Ferreira, 1930-
    1981
    In this review, Ferreira Gullar describes the one-man show of works by Iberê Camargo at the Acervo gallery in Rio de Janeiro (1981). No invitation was issued, and no catalogue was printed for the exhibition that displayed a selection of the artist [...]
    ICAA Record ID: 1110417

  • One critic says twaddle : abstractist Kemble Smith : but daubist believe in what he´s doing
    Barry, James
    1960
    Barry James reported on Kenneth Kemble’s lecture of July 15, 1960, at the Society of British Artist of Buenos Aires: “Esquemas cambiantes sobre la apreciación del arte modern”[Changing Models on Modern Art Appreciation], in which the artist [...]
    ICAA Record ID: 741568

  • Pintura informal
    Parpagnoli, Hugo
    1959
    Hugo Parpagnoli wrote about the exhibitions of Informalist painting in Buenos Aires, defining Informalism as an irrational attitude. On the other hand, the author explained how the viewer must behave while facing this new approach to painting [...]
    ICAA Record ID: 741681

  • Pinturentario : 1, 2 y 3
    Baliari, Eduardo
    1964
    This article analyzes the works of Josef Albers, Eduardo Barilari and Rubén Santantonín, who exhibited at the same time in Buenos Aires. It declares that “dentro de lo absurdo, lindan ya con la burla más cruel e inexplicable” [within the [...]
    ICAA Record ID: 758569