Martín Fierro (1924-1927) occupied an important place among the great proliferation of magazines of the Argentinean Avant-Garde that were published during the 1920s, and even more so within Buenos Aires itself. It was edited by Evar Méndez, although in 1925 Oliverio Girondo, Eduardo J. Bullrich, Sergio Piñero, and Alberto Prebisch also participated in the editorial duties. Key Argentinean writers such the aforementioned Girondo, Ricardo Molinari, Leopoldo Marechal, and Jorge Luis Borges were counted among its contributors; as well as the artists Emilio Pettoruti, Xul Solar, and Norah Borges. Martín Fierro ceased to be published when, during the presidential candidacy of Hipópolito Yrigoyen, the group’s members became divided between those who wanted to introduce politics into the magazine and those who did not. This internal bickering led to the demise of the publication. It is important to note that Martín Fierro was seen by contemporaries a representative of the Argentinean “vanguard.”Oliverio Girondo (1891-1967), a prominent Argentinean poet connected to the literary renewal in 1920s Argentina, wrote numerous books of poetry, among which Veinte poemas para ser leídos en el tranvía [Twenty poems to be read in the streetcar] (1922), Calcomanías [Decals] (1925), and Espantapájaros [Scarecrow] (1932) were the most well known. In 1924, Girondo left for Europe via the Pacific. His mission of brotherhood sought to strengthen the relations between the young writers, intellectuals, and artists of Latin America. This “mission” signaled the importance given by the magazine Martín Fierro to Latin America within the framework for aesthetic renewal. Resulting from Girondo’s voyage, Martín Fierro received several written contributions, mainly from Chile, Peru, and Mexico. In this context, the following year Mexican writers Julio Castellanos and Manuel Rodríguez Lozano arrived in Argentina accompanying an exhibition of Mexican Children’s art.
