ICAA Researcher: Roberto Amigo.×
  • "7 pintores argentinos"
    Rinaldini, Julio
    1935
    Julio Rinaldini criticizes the leaflet with the manifesto of the Seven Artists (Antonio Berni, Lino Enea Spilimbergo, Horacio Butler, Ramón Goméz Cornet, Héctor Basaldúa, Aquiles Badi, and Emilio Pettoruti) who participated in the exhibition at [...]
    ICAA Record ID: 733926

  • "Exposición de arte destructivo” o una copa de oxígeno
    Molina, Enrique
    1961
    The poet, Enrique Molina wrote a literary essay on the exhibition on Arte Destructivo [Destructive Art] in which he states that its power is in the unveiling of what is hidden and prohibited. Observed with Surrealism in mind and the imprint of [...]
    ICAA Record ID: 741894

  • [A los señores jurados de escultura de los salones nacionales...]
    Badii, Líbero, 1916-
    1960
    In a short statement, written in 1960, Libero Badii renounces any form of salon exhibition, in keeping with his other disengagements from, for example, academic continuity, material progress, and official teaching [...]
    ICAA Record ID: 754059

  • [A principio de mes para el Di Tella...]
    Ferrari, León, 1920-
    1965
    León Ferrari sketches his idea for the Christ mounted on a fighter jet for the piece he submitted to the Torcuato Di Tella Institute’s 1965 National and International Prize. This work would be known as Civilización Occidental y Cristiana [Western [...]
    ICAA Record ID: 743800

  • [Admiro con temor las grandes esculturas de Badii...]
    Romero Brest, Jorge
    1963
    By means o a poetic prose, art critic Jorge Romero Brest states that he fearfully admires the huge sculptures and lovingly cares about the drawings and small sculptures made by Líbero Badii. He analyzes the relationship between art and life, from [...]
    ICAA Record ID: 759435

  • [Antes de hablarles de la mutualidad...]
    Grela, Juan
    1987
    Juan Grela speaks about painting in the city of Rosario at his lecture, beginning with the Mutualidad [Society]. He refers to his respect for the university and his long-standing relationship with Amigos del Arte [Friends of Art]. The author tells [...]
    ICAA Record ID: 768965

  • [Carta dirigida al espectador]
    Noé, Luis Felipe
    1965
    Luis Felipe Noé writes a letter directed to the viewer containing ironic commentary on exhibition catalogs. He supports art as a permanent adventure in revelation and man as the instrument of new quests. Noé proposes “chaos”as the only truth of [...]
    ICAA Record ID: 740597

  • [Ce qui m’a frappé]
    Sandberg, Willem Jacob Henri Berend
    1964
    William Sandberg writes about the impact he experienced when he got to know the cultural life of Buenos Aires. He mentions the solidarity of the artists who worked in groups, using as an example the artists from Otra Figuración [Another Figuration [...]
    ICAA Record ID: 768891

  • [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

  • [Después del Di Tella...]
    Ferrari, León, 1920-
    1966
    León Ferrari notes that he has not produced any other works since the Torcuato Di Tella Institute’s 1965 National and International Prize. Ferrari explains that he has been busy working on his book, Palabras ajenas [Other People’s Words], which [...]
    ICAA Record ID: 743801

  • [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

  • [El "Grupo Buenos Aires" que se presenta con esta muestra...]
    Noé, Luis Felipe
    1958
    Luis Felipe Noé begins with the notion that the artistic milieu in which he operates is still in formation, just as the artists of the Grupo Buenos Aires come together through their relation with the societal background. In his judgment, art is just [...]
    ICAA Record ID: 740608

  • [El año que termina hoy...]
    Ferrari, León, 1920-
    1964
    In his notebook, León Ferrari reviews his performance in 1964, and announces that he has completed the projects he had been working on since 1962. Ferrari also mentions that in 1964 he worked with bottles, writings, and wire structures [...]
    ICAA Record ID: 743797

  • [El arte de nuestros dias pone en crisis el concepto de vigencia de las formas expresivas...]
    Paz, Samuel
    1961
    Samuel Paz wrote about the artist’s current situation, brought about by a crisis around the concept of style and a state of hypersensibility, in addition to a demand for inventiveness. The critic emphasized how Luis Gowland Moreno made use of [...]
    ICAA Record ID: 766428

  • [El hecho de presentarnos en un grupo limitado...]
    Badi, Aquiles, 1894-1976
    1935
    In this brief text, the subscribing artists (participants in the exhibition 7 pintores argentinos [Seven Argentinean Painters] in August 1935) maintain that they do not support any specific pictorial trend; they have however conflicting ideologies. [...]
    ICAA Record ID: 733845

  • [En lo que va del siglo, la pintura argentina...]
    Padeletti, Hugo, 1928-
    1962
    With the local context in mind, Padeletti writes about the criteria of originality and the problem of aesthetic contemplation. In addition, the critic points out the development of Argentinean collections, in particular those of the city of Rosario: [...]
    ICAA Record ID: 762895

  • [En los últimos meses, dos hechos negativos...]
    Paparella, Aldo
    1970
    Aldo Paparella refers to two negative events, describing the closing of Instituto Di Tella as the end of thought and freedom of creation, and explaining that Eugenio Daneri had been excluded from an exhibition. It is all part of the crisis that was [...]
    ICAA Record ID: 759379

  • [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

  • [Esta nueva exposición del grupo de artistas no figurativos]
    Pellegrini, Aldo
    1961
    The presentation affirms that nonfiguration dominates the visual arts based on the sole convention of absolute creative freedom; thus the only limit for the artist is his medium. In Pellegrini’s judgment, the artist works within a perimeter of pure [...]
    ICAA Record ID: 762908

  • [Estaba pensando en la convivencia de que alguien destacara acerca de la pintura de Macció...]
    Romero Brest, Jorge
    1964
    Jorge Romero Brest writes that the jury he was a member of awarded Rómulo Macció the International Prize from the Instituto Torcuato Di Tella (1964), in which he distinguished himself from among the works of foreign artists. By the way and in overt [...]
    ICAA Record ID: 768860

  • [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

  • [Este prólogo para “Barbazul” tiene muy poco que explicar...]
    Parpagnoli, Hugo
    1966
    Hugo Parpagnoli declares that he does not have much to explain about Barbazul [Bluebeard]. Because it is only a story; the public should just go in and have fun. The exhibition evolves over time, like a theatrical play in which the spectator walks [...]
    ICAA Record ID: 766531

  • [Estes artistas de um "neofigurativismo"...]
    Ferraz, Geraldo, 1905-1979
    1963
    In this show of the Argentinean group Otra Figuración [Another Figuration] at Galería Bonino in Rio de Janeiro, the Brazilian writer and art critic Geraldo Ferraz points out the definition by Jorge Romero-Brest made at the exhibition of the New [...]
    ICAA Record ID: 741551

  • [Habitantes del planeta, yo Federico Manuel Peralta Ramos, me dirijo a ustedes para comunicarles los mandamientos...]
    Peralta Ramos, Federico Manuel, 1939-1992
    1968
    Conceptual artist Federico Peralta-Ramos concocts a new religion encompassing twenty-three commandments. All of them are ancillary to the main one: “ser gánico” [to act according to how you feel]; in other words, “hacer siempre lo que uno [...]
    ICAA Record ID: 759579

  • [Hacer algo de tres dimensiones...]
    Ferrari, León, 1920-
    1963
    León Ferrari records his thoughts on the visual aspects of projects he will soon be working on, specifically the writings and the boxes. He defines concepts regarding what is visible and what is ambiguous [...]
    ICAA Record ID: 743802

  • [Hacer un prisma cerrado...]
    Ferrari, León, 1920-
    1964
    León Ferrari discusses one of the works he produced in 1964, as he prepares his collection for the exhibition at Galería Lirolay in Buenos Aires [...]
    ICAA Record ID: 743803

  • [Hubiera querido escribir sobre Paternosto y Puente...]
    Romero Brest, Jorge
    1966
    In this document, the art critic Jorge Romero Brest writes about the work of César Paternosto and Alejandro Puente, discussing the concepts of color and image. Romero Brest emphasizes the treatment of the irregular frames that simultaneously suggest [...]
    ICAA Record ID: 762947

  • [I have been asked to speak about...]
    Kemble, Kenneth, 1923-
    1960
    Kemble develops a historical and formalist view of art, both from a Western and Eastern perspective, to arrive at the stylistic evolution present in both the 20th century and in his own work, which he analyzes from inception and through his personal [...]
    ICAA Record ID: 741307

  • [La actividad artística desarrollada dentro de los límites...]
    Kasper, Guido
    1959
    Guido Kasper analyzes Paparella’s work, describing him as an avant-garde artist who is entering a “great period” in his career, as defined by the materials he used, in this case referring to iron sculptures [...]
    ICAA Record ID: 760571

  • [La ascesis que Hlito ha practicado...]
    Derbecq, Germaine
    1960
    French artist and critic Germaine Derbecq wrote, in a literary text, about the work of Alfredo Hlito underscoring its differences from Concrete art, especially regarding the modulation of color. She conceives Hlito's painting as a block without [...]
    ICAA Record ID: 762882

  • [La aventura de Berni]
    Gassiot-Talabot, Gérald
    Gérald Gassiot-Talabot writes about discovering Antonio Berni’s work at the Venice Biennial, and describes the Ramona Montiel series. He speaks poetically about the artist’s Monsters, discussing the allegorical aspect of Berni’s production, [...]
    ICAA Record ID: 779935

  • [Las esculturas de Paparella]
    Pellegrini, Aldo
    1969
    Aldo Pellegrini discusses the work of Aldo Paparella, which he says fuses the rational-mathematical with the antirational-vital. According to Pellegrini, this fusion is the result of a search for the most appropriate language for the materials the [...]
    ICAA Record ID: 759517

  • [Las obras expuestas dan una idea ajustada...]
    Berni, Antonio, 1905-1981
    1952
    Antonio Berni writes about Nuevo Realismo [New Realism], which he defines as an aesthetic identity that, in Latin America, vacillates between form and content [...]
    ICAA Record ID: 794426

  • [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

  • 7 pintores abstractos
    Galería Pizarro (Buenos Aires, Argentina)
    1957
    Cover and listing of artists who participated in the exhibition 7 pintores abstractos [Seven Abstract Painters], held at Galería Pizzarro in Buenos Aires from October 1 to 19, 1957. Essentially, it brings to the fore a singular grouping in the 1950s [...]
    ICAA Record ID: 769021

  • 7 pintores argentinos : exposición restrospectiva
    Badi, Aquiles, 1894-1976
    1935
    The checklist of the retrospective exhibition of modern artists at Amigos del Arte [Friends of Art] in 1935. Those who participated, with important works created since the 1920s, were Aquiles Badi, Héctor Basaldúa, Antonio Berni, Horacio Butler, [...]
    ICAA Record ID: 733857

  • 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 mis padres
    Badii, Líbero, 1916-
    1962
    Libero Badii affirms the importance of spiritual continuity implicit in artistic creation. He discusses his ideas concerning woman, man, and his conception of the portrait, based on the notion of “life equals art.” He presents a timeline of an [...]
    ICAA Record ID: 759543

  • A true wandering bohemian: talented english artist with a roaming instinct is now in Buenos Aires
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble reviews the work of Martin Bradley, an artist shown at Galería Rubbers in Buenos Aires. Kemble mentions his trips, critical comments, and artistic influences, showing Bradley’s work as an example of contemporary British art [...]
    ICAA Record ID: 741204

  • Actualidad de Leonardo
    Berni, Antonio, 1905-1981
    1952
    Antonio Berni writes about the continuing relevance of Leonardo’s method, and the deep affinities that exist between the work of Leonardo and contemporary art [...]
    ICAA Record ID: 794412

  • 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

  • Although good, Badaracco has the local disease
    Kemble, Kenneth, 1923-
    1961
    Kenneth Kemble wrote about two exhibitions by artists who are presently not well known: Juan Badaracco and Sergio Ferraro. Through formal examination, Kemble pointed out qualities galore and pictorial sensibility in such works. Kemble especially [...]
    ICAA Record ID: 741003

  • Antonio Berni
    Rozzisi, Miguel Angel
    1965
    Miguel Angel Rozzisi writes about Antonio Berni’s art as though it has overcome the decadence of the system. He maintains the existence of class warfare between the official culture and that of the people, with Berni as the representative for the [...]
    ICAA Record ID: 785457

  • Antonio Berni : el pensamiento y la trascendencia
    Berni, Antonio, 1905-1981
    1978
    This document contains a description of the attendees at the opening of Antonio Berni’s show at the Galería Imagen (Buenos Aires, 1972) and an interview with the artist about the Latin American art scene. In his answers, Berni criticizes [...]
    ICAA Record ID: 775908

  • Antonio Berni et les aventures de Ramona Montiel
    Ragon, Michel
    1963
    French art critic Miguel Ragon writes about Antonio Berni’s engraving technique, as well as the question of narrative in his work with regard to the development of his chief characters: Juanito Laguna and Ramona Montiel [...]
    ICAA Record ID: 780155

  • Antonio Berni incorpora el fotomontaje a sus diversificados mecanismos expresivos
    1974
    Antonio Berni states his position on hyperrealism; he mentions the work of his surrealist stage in order relate the mechanisms of creation for photomontage and the collages from his Juanito Laguna series [...]
    ICAA Record ID: 785316

  • Apresentação : desenhos esculturas prismas e retângulos
    Ferrari, León, 1920-
    1980
    León Ferrari writes a poetic text in which he describes his working method, beginning from making a line on paper through its conceptual development in space [...]
    ICAA Record ID: 744240

  • Apuntes marginales sobre el arte
    Blum, Sigwart
    1968
    Sigwart Blum developed in these notes the relationship between ancient cultures and dualism in nature. He even analyzed symbols as discharged energy, continually active for thousands of years and surfacing in everyday situations. He linked Líbero [...]
    ICAA Record ID: 760584

  • 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