Documents of Latin American and Latino Art

Kenneth Kemble writes about the architect and painter Clorindo Testa, focusing on his ability to work with the essential. Kemble discusses Testa’s exhibition of abstract paintings at Galería Bonino (Buenos Aires) and is taken aback with the use of [...]

In this article, Damián Bayón analyzes the work of Argentine painter Ramón Gómez Cornet. He states that coming to a just “judgment” of the work will be difficult because he is one of “those [artists] who goes directly to the sensibility of [...]

In this article, Damián Bayón deals with the pictorial production of Jorge Larco. He analyzes his use of materials (oil as well as watercolor), motifs and color, among other elements. Bayón concludes that he is “a great painter” for he [...]

In this article, Damián Bayón analyzes the work of Carlos Torrallardona. To do so, he focuses on the composition, iconography, lines and use of color among other elements, including the adequate (or inadequate) visual tension he observes within [...]

In this article, Damián Bayón describes and analyzes the painting of Juan Batlle Planas, an Argentine painter influenced by surrealism. Bayón believes him to be one of the “most gifted surrealists, replete with great pictorial knowledge and a [...]

In this text, which is the foreword to the catalogue for the exhibition 22 Contemporary Argentine Painters, Damián Bayón establishes the exclusive relationship with Europe of the visual art culture in Argentina, since there was “no relationship [...]

Braulio Solsona writes about the success Antonio Berni achieved with his exhibition in Paris (Galerie R. Creuze, 1955), while also affirming the importance of representing local problems; he also comments on the introduction by Louis Aragon [...]

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 [...]

Antonio Berni introduces Rodrigo Bonome’s exhibition of landscape paintings at the Galería Velázquez in Buenos Aires (1961) with a formal discussion on order in composition, and on color [...]

This is the invitation to the exhibition honoring Xul Solar, which took place on October 15, 1966, at the Museo Provincial Emilio A. Caraffa in Córdoba, Argentina, as part of the 3rd Latin American Art Biennial [...]

This is a text that analyzes the interferences among the arts. It relates music to painting by noting, in the first place, the correspondence between the application of the tonal scales and the laws of perspective to be followed between dodecaphony [...]

In this document Fabián Lebenglik describes the characteristics of the work Agustín Inchausti presented in the exhibition Agustín Inchausti. Pinturas (Buenos Aires: Espacio Giesso, April 28–May 17, 1992); he compares it to the work he had been [...]

This article characterizes the work presented byRamón Gómez Cornet at Chandler Hall in 1922 as “personal,” in keeping with the means of understanding the “ismos imperantes” [“prevailing –isms”] of that era. At the same time, Atalaya [...]

In this article, Fabián Lebenglik reviews the Agustín Inchausti. Pinturas exhibition (Buenos Aires: Espacio Giesso, April 28–May 17, 1992). He describes the main traits of Inchausti’s work and compares it with what the painter had been doing up [...]

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 [...]

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 [...]

The critic writes about Marcelo Bonevardi’s artworks, comparing them to the fragments or the friezes on the walls of an immemorial temple, stating that they propose a profound contemplative attitude. Aldo Pellegrini mentions the importance of the [...]

Hernández Rosselot writes about the perishable quality in art, emphasizing the deterioration of contemporary artworks. One of the goals of Rómulo Macció is that his works survive for future observers. The critic mentions the impact of [...]

This article by Atalaya (Alfredo Chiabra-Acosta) analyzes the visual works of Aquiles Badi, Juan Del Prete, and Emilio Pettoruti, which were exhibited at the 13th Salon of Watercolor, viewing them as the only ones worthy of mention, since they are [...]

This essay by the Spanish writer Guillermo de Torre presents an interesting comparison between avant-garde literature and painting in Argentina. The writer describes the new painters with precise commentaries on the visual arts, as well as touching [...]

Pérez Celis wrote a letter to the author that the Alberto Greco exhibition was a direct hit that injured the sensibility of effeminate painters. Lastly, with the use of word play, he stresses that it was a "serious" exhibition contrary to the [...]

Pablo Curatella-Manes presents an exhibition dedicated to sculpture, painting, and urban, as well as architectural projects by Martín Blaszko, Juan Kurchan, Juan Melé, and Simón Ungar, pointing out the relationship among the three media. The [...]

Antonio Berni himself presents his works produced over a time span of three decades. Berni emphasizes that while he showed in the Sociedad Amigos del Arte [Friends of Art Society] his surrealistic production in 1932, there are many that do not know [...]

Hugo Parpagnoli introduces Luis Benedit’s exhibition at the Galería Lirolay (Buenos Aires, December, 1964). Parpagnoli describes Benedit’s work in terms of windows that open onto a bright, cheerful world. He claims that, although Benedit has [...]

José Alberto García Martínez introduces Pedro De Simone’s exhibition (Galería Lirolay, May– June, 1963), pointing out that the artist’s oil paintings achieve qualities reminiscent of water- colors. He also mentions that the Constructive [...]

Rafael Squirru introduces Narcisa Hirsch’s exhibition (Galería Lirolay, August–September, n/d), and he acknowledges the dramatic quality of an artist’s first solo show. Squirru stresses that Hirsch’s education and professional attitude are [...]

Aldo Pellegrini presents Luis Benedit’s exhibition Benedit: Pinturas 1966–67 (Galería Rubbers, March–April, 1967), pointing out that this latest production mixes “the wonderful” with humor, achieving images that struggle against [...]

Rafael Squirru introduces María Elena Sieburger’s exhibition of paintings (Galería Lirolay, Buenos Aires, August 21–September 2, 1961), noting that?following a period during which she hewed closely to Joaquín Torres García’s legacy?she is [...]

The text informs about the curatorial characteristics, artists, and works that are presented at the exhibition organized by the Centro Cultural Recoleta (Buenos Aires), which is sponsored by Página/12 (Buenos Aires), under the title La vuelta [...]

The article describes the characteristics of the works by Fabián Burgos, Jorge Gumier-Maier, and Graciela Hasper presented in Nadar sobre la superficie [To Swim Over the Surface] (Buenos Aires: Espacio Giesso, November 6–23, 1991) and, at the same [...]

Juan Grela wrote about his understanding of art and of training young men and women in keeping with their own temperament. In his opinion, evolution did no apply; within an artist, there was only “being,” for which artists needed to connect to [...]

David Alfaro Siqueiros critiques the paintings of the 23rd Fine Arts Salon (Buenos Aires) as works imitative of past European painting. The artist defines the event as a colonial art show, with gullible themes and devoid of technique, as well as with [...]

Cayetano Córdova-Iturburu presents Carlos Cañás’s exhibition (Galería Rubbers, Buenos Aires, October, 1966), emphasizing that both the will for balance and the order set by his painting stresses this artist’s classic position, despite the [...]

Manuel Mujica-Láinez presents Nicolás García-Uriburu’s exhibition (Galería Rubbers, Buenos Aires, August–September, 1964), highlighting themes and climates associated with what does  “Argentinean-ness” involves. The critic also points [...]

Manuel Mujica-Láinez presents Ricardo Garabito’s exhibition, pointing out that his work has been focuses on the commonplace atmosphere of objects, people, and neighborhood. He also singles out the quality of the drawing and the richness of his [...]

Samuel Paz presents Juan Carlos Badaracco, mentioning that because this is his first show, this exhibition (Galería Rubbers, Buenos Aires, April–May, 1960) points out a phase in which the artist put aside his monologue  in order to offer himself [...]

 Ernesto Ramallo writes the prologue for Carlos Páez-Vilaró’s exhibition, highlighting the versatility of this artist and prone to bring about monumental creations, besides endowing them with a touch of humor. At the same time, Ramallo traces a [...]

 Rafael Squirru presents Carlos Paez-Vilaró’s exhibition, highlighting this artist’s versatility in comparison with the prone to specialization, quite characteristic of technological civilization. In this sense, Squirru mentions that Paez-Vilar [...]

José Alberto García-Martínez presents Luis Centurion’s exhibition, highlighting the importance of his portraits. He also points out the synthesis of the form brought about through his drawing. Huge chromatic planes with which he expresses the [...]

Statement by the artists Eduardo Mac Entyre and Miguel Angel Vidal, in which they recognize that their work stems from the proposal of the Argentinean Concrete artists, although they use the period and the straight line to produce movement. Given the [...]

Rafael Squirru presents the exhibition by artists Eduardo Mac Entyre and Miguel Angel Vidal, identifying it as a sample of “generative art,” as it has been called by Ignacio Pirovano, in tandem with the writings of Georges Vantongerloo. In this [...]

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 [...]

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 [...]

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: [...]

Josefina Robirosa wrote a very brief, poetic text about the nexus between her “innermost self” and her painting, and by means of her simple text she came close to linking the individual and painting [...]

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 [...]

Poet and essayist Saúl Yurkiévich identifies Nelson Blanco and Carlos Pacheco as two figurative artists who react against Informalism, although he tracks the influence of chromatic geometry in both. For Yurkievich, the dynamics of new painting [...]

Within the context of a journey through exhibitions open in Argentina at the time, Lorenzo Varela points out the singularity of an exhibition in which both the human figure and reality as a motive prevail, in overt opposition to the Informal art [...]

This article is an interview with artist Pablo Suárez in which he is questioned regarding his actions within the Argentinean artistic scene of the 1960s. Among the diverse events he relates, he mentions the realization of the happening called [...]

Federico Gonzalez-Frías writes about the shift occurred in the painting of Federico Peralta-Ramos, and how he gave himself with abandon to luxurious and baroque illusions in order to carry out his search by means of pictorial materials, a more [...]