Documents of Latin American and Latino Art

Schedule of activities and exhibitions for the Semana de arte avanzado [Advanced Art Week] in Argentina. The following entries stand out in the program: Experiencias visuales 1967 [the 1967 Visual Practices], the shows of Ernesto Deira (1928-86) and [...]

Regulations stating both which are the invited artists and the value of the prizes and norms that will be ruling the presentation of the artworks; this includes the materials to be attached and the deadlines [...]

This news brief summarizes the principal concepts raised by Guido Di Tella regarding the internal history of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute]; he points out that the institution is a non-profit public good. The report [...]

This document is a letter written by Roberto Cortés Conde, who succeeded engineer Enrique Oteiza as Director of the Instituto Torcuato di Tella [Torcuato Di Tella Institute]. (Buenos Aires); it is addressed to Samuel Paz and, in accordance with the [...]

This report details developments since May 14, the opening day of the Experiencias 1968 [1968 Practices]. It reports on the presence of the police and the municipal authorities due to a complaint regarding a happening presented at the Instituto [...]

The critic for the newspaper La Prensa [The Press], Ernesto Ramallo, writes an unfavorable critique of the works presented at the Premio Torcuato Di Tella [Torcuato Di Tella Prize]. His review tolerates the works of Federico Manuel Peralta Ramos, [...]

Act setting the regulations for the second call to participate in the Torcuato Di Tella Institute Prize. According to the second paragraph of the text, the contest will take place among painters, who—if invited—will show five works each. It also [...]

This text introduces the conferences organized by Eduardo González Lanuza at Galería PROAR. His intention is not to speak from an aesthetic point of view on La Menesunda [Hodgepodge] but rather of Jorge Romero Brest’s [...]

Enrique Oteiza informs the Ford Foundation that the Centro de Artes Visuales of the Instituto Torcuato Di Tella [Center of Visual Art of the Torcuato Di Tella Institute] regrets the episode that occurred with the authorities (both police and [...]

This document is a letter written by Enrique Oteiza, in his function as director of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute], to the Editor–in-Chief of the newspaper Clarín [Bugle], Oscar Camilión. In it he expresses his [...]

This document is a letter written by Enrique Oteiza, director of the Instituto Torcuato Di Tella, to the Editorial Secretary of the newspaper La Prensa [The Press Oteiza thanks the paper for the prompt reports on the police proceedings that [...]

In his role as director of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute], Enrique Oteiza thanks the editorial secretary of La Nación [The Nation] newspaper of Buenos Aires for the speed with which it reported the police proceeding [...]

In his function as the Secretary General of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute], Mario T. Marzana, communicates to the aforementioned institution’s personnel the proceedings that led to the closure of Roberto Plate’s [...]

[This document is the] warrant to inspect the Centro de Artes Visuales del Instituto Torcuato Di Tella [ Visual Arts Center of the Torcuato Di Tella Institute] premises at 936 Florida, Buenos Aires. The official notice reports that obscene [...]

This article is a review of the Premio Torcuato Di Tella 1966 [The Torcuato Di Tella Prize of 1966]; it describes the panorama and points out that on this occasion the Pop artists have rediscovered the attitude of creation; within it the personal is [...]

The text describes the environments presented in La Menesunda [Hodgepodge]. It emphasizes its scandalous nature, judging it to be an art fraud committed against the public. It refers to a survey conducted by the journalist on the attending [...]

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 [...]

This negative critical commentary by Daniel Alberto Dessein points out that, although the exhibition costs of La Menesunda [Hodgepodge] were well-known, its content proved so surprising to the public that it became reminiscent of the millions [...]

The jury for the Premio Internacional Instituto Torcuato Di Tella 1965 [1965 Instituto Torcuato Di Tella International Prize], which consisted of Giulio Carlo Argan, Alan Bowness, and Jorge Romero Brest, voted to purchase Cuatro Habitaciones [Four [...]

This is a letter sent by Jorge Romero Brest to E. de Wilde, Director of the Stedelijk Museum [City Museum] of Amsterdam in which he explains that, although he regrets their disagreement, the Instituto Torcuato Di Tella does not disclose beforehand [...]

[This document is] is a letter sent by the Director of the Stedelijk Museum [City Museum] of Amsterdam, Dr. E. de Wilde to Jorge Romero Brest, in relation to the invitation extended to him to act as a jury member for the Premio Internacional Di Tella [...]

This text announces the prizes as well as the rules that will govern the presentation of works for the Premio Nacional and the Internacional (Instituto Torcuato Di Tella, 1965). The announcement also states that works for the Premio Nacional will be [...]

After being invited to participate in the Torcuato Di Tella National Prize (Buenos Aires), the artist Claudio Girola sends this letter from Chile to Jorge Romero Brest thanking him for his inclusion but declining the invitation for personal reasons [...]

This review highlights the objectives as well as the main projects faced by the Torcuato Di Tella Foundation from its foundation in 1958 to 1960. The text points out that the main purpose of the foundation is to collaborate with both financial and [...]

Act by means of which the Di Tella Institute Prize is instituted. Yearly, it will be conferred to painters, sculptors, engravers-printers, ceramists, and other artists, to be decided. Likewise, in this document it is also established that the [...]

Rafael Alberti comments on León Ferrari’s work, on photographs he sent him regarding the Vietnam War. He transcribes his poem “Vietnam.” Ironic comments about León Ferrari’s political work’s possible exhibition at Instituto Torcuato Di [...]

León Ferrari writes to Leopoldo Maler about the London stage production of his book, Palabras ajenas [Other People’s Words].  He agrees to the new title of the English version, Listen Here Now, while proposing that it include the word “Vietnam [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, and talks about the economic situation and the student [...]

Rafael Alberti discusses the controversy that erupted over León Ferrari’s exhibition at theTorcuato Di Tella Institute in response to critical reviews regarding the political nature of the works involved. The poet goes on to talk about Anticolo [...]

Rafael Alberti, the poet, mentions León Ferrari’s Vietnam War pieces, and savors the irony of a possible exhibition of those political works at the Torcuato Di Tella Institute. He tells Ferrari how an artist should react, at a political level, vis [...]

Kenneth Kemble writes about the exhibition of Catalonian artist Antoni Tàpies at the Museo Nacional de Bellas Artes [National Museum of Fine Arts], organized by the Instituto Di Tella. The success of his oeuvre does not move Kemble; none of it [...]

In this document, Kenneth Kemble writes about the project of the Fundación Torcuato Di Tella and the creation of an Art Center based on the idea that industrial progress must be accompanied by the development of culture. The collection was exhibited [...]