Documents of Latin American and Latino Art

This manifesto begins by saying: “Please stop this aesthetic joke that is supposed to be profound! Stop boring us with yet another example of egocentric folk art! This is nothing but vanity.” It argues that if Jean Tinguely wants us to believe [...]

Mathias Goeritz states that he is fed up with logic and reason; with functionalism, decoration, and individualism; with the fashion of the moment, with vanity, ambition and egocentrism; with the -isms and -ists, both figuration and abstraction. He is [...]

Mathias Goeritz writes about how Daniel Mont, an unusual patron of the arts, offered him a highly ambitious and at the same time the most exciting project he ever received: the design and construction, with total freedom, of a building in the center [...]

Mathias Goeritz comments on his early obsession with the idea of vertical constructions. His first monumental tower (for the Museo Experimental El Eco) as well as the series of projects called “Arquitectura emocional” [Emotional Architecture] are [...]

According to Mathias Goeritz , José Luis Cuevas is “one of the greatest artists that Mexico has ever produced.” His talent has, in fact, been widely acknowledged by artists and intellectuals. But Goeritz believes that, in addition to his [...]

In Mathias Goeritz’s opinion, the architect and sculptor Juan O’Gorman is an original visionary because in his artistic endeavors he tries to connect the arts and subordinate them to concepts that synthesize his extra-artistic convictions. [...]

Mathias Goeritz announces that this issue of the magazine Arquitectura México is dedicated to the examples of architecture and religious art current at the time. He argues that—even though in some works of secular art a greater “religiosity” [...]

This document relates the response of artist Mathias Goeritz to the survey regarding abstract, or non-figurative art, in which he indicates that he prefers “abstract art” as the general and popular term, although he agrees with the possibility [...]

In view of the results of the Segunda Bienal Interamericana de México [Second Inter- American Biennial of Mexico]that took place in the Palacio de Bellas Artes, Mathias Goeritz’s opinion is that if what is being exhibited has something to do with [...]

To present this issue of the Art Section dedicated to Las Torres de Ciudad Satélite [The Towers of the Satellite City] Mathias Goeritz wonders if anybody else—aside from some of his friends—has read the editorials of this section published as [...]

In response to a series of overwhelming news published in the press that month, not having enough time to reflect upon it and adopt a position, Mathias Goeritz wonders what type of art should correspond to these, our times. He insists on placing the [...]

Through diverse photographs, Mathias Goeritz shows the development of what he calls the “problem” of Integración Plástica [Plastic Integration], a dogmatic movement in which the architect Mario Pani actively participated together with several [...]

In 1952, Daniel Mont invited Mathias Goeritz to construct “whatever he wanted.” Given such freedom, the sculptor developed the idea of Arquitectura Emocional [Emotional Architecture]: a structure that would contain the arts with the purpose of [...]

With this essay, Mathias Goeritz introduces the Art Section of the magazine Arquitectura México. In this first “Warning,” the author affirms that once visual education and abstract design are officially accepted, no “avant-garde” will exist [...]

Mathias Goeritz describes two projects proposed to the then-president of the organizing committee of the 19th Olympic Games, architect Pedro Ramírez Vázquez: the International Meeting of Sculptors and The Route of Friendship. The artist describes [...]

This article by Mathias Goeritz looks at the level of plastic integration achieved by the Benito Juárez Multifamily Urban Unit, a project under the architectural direction of Mario Pani and Enrique del Moral, working together with the plastic artist [...]