This is a text in which Pellegrini presents Alberto Heredia’s “Cajas de Camembert” [“Camembert Cheese Boxes”]. He considers them as objects where surprise constitutes a gate to a world rich in meaning. Pellegrini observes that artists of the most recent tendencies are prone to reevaluate objects from daily life, just as it happened among Dadaists and Surrealists. The critic maintains that, for new artists, the displacement of the object’s function, set apart from its common use, underlies relations with the surrounding world, thus placing an emphasis on the perpetual mark left behind on them by the creators. Finally, Pellegrini states that while opening the boxes the public becomes an active collaborator, discovering for itself the show hidden by the artist. In this sense, he asserts that each opening constitutes such an artwork’s rebirth.

Aldo Pellegrini (Rosario, 1903-Buenos Aires, 1973) was a very prominent poet, playwright, essayist, and art critic in the Argentinean cultural milieu. Linked from the first moment to the development of Surrealism, he directed several editorial projects. Likewise, he supported and helped spread the Abstract art's different trends, promoting several groups, such as Artistas Modernos de la Argentina [Moderns Artists of Argentina] and Asociación Arte Nuevo [New Art Association]. 

Alberto Heredia (1924-2000) was a self-taught artist who produced within the Abstract Art track, as well as inside critical figuration. One of the most original characteristics of his work was the result of his use of boxes and waste materials (bones, frames, and bandages).  

The exhibition Las cajas de Camembert [Camembert Cheese Boxes] was presented at the Galería Lirolayin Buenos Aires, which belonged to the Fanos, a Judeo-French couple, and from 1960 to 1963 was advised by Germaine Derbecq. Due to the fact that the task of selecting and promoting young artists was done twice a month, the gallery became known for detecting innovative tendencies emerging, thus giving some room to many young artists who had their first solo exhibition there.    

This document allows us to study the emerging plastic productions--which did not yet fit into the institutionalized circuit and would find in Lirolay a launching pad--as well as Pellegrini's opinions about these brand-new artists and tendencies.