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 [...]

This document is a catalog for the exhibition 6 artistas en Lirolay. Sexteto [Six Artists in Lirolay: Sextet] (Buenos Aires: Galería Lirolay, January–February 1964). The participating artists were: Delia Cancela, Zulema Ciordia, Pablo [...]

This article describes the characteristics of the works included in the exhibition Sexteto [Sextet] (Buenos Aires: Galería Lirolay, 1964) and reprints the artists’ opinions regarding the show’s classification as Pop art, a term [...]

This text relates to the exhibition 6 artistas en Lirolay [Six Artists at Lirolay]. Sexteto [Sextet] held at Galería Lirolay (Buenos Aires) in January and February of 1964. It asserts that works by “exponen los campeones nacionales del pop-art, [...]

This text is an article regarding the exhibition put forward by a group of artists from Rosario (Graciela Carnevale, Lía Maisonnave, Noemí Escandell and Fernández Bonina) at the Galería Lirolay [in Buenos Aires] in June 1968. According to the [...]

In this text-manifesto, argentine artist Rubén Santantonín presents the conceptual principles of his work. “No pretendo unir pintura con escultura. Trato de colocarme lejos de esas dos disciplinas en cuanto pueden ser método, sistema, medio. [...]

Rafael Alberti discusses the proofs of the drawings for Escrito en el aire [Written in the Air] as well as other matters concerning the publication of the book. He mentions Ferrari’s exhibition at the Lirolay Gallery (April 1 – 15, 1964), and his [...]

Cayetano Cordóva Iturburu gives a positive critique of the Destructive art exhibition due to its intelligent organization of the artworks, as well as for the expanded interpretation of art as either life blasted experience or a new poetics [...]

Robert Cox writes that, in the exhibition Arte Destructivo at Galería Lirolay, the artists have created a smart form of displaying destruction, as the antithesis of creation. He refers to both the sale of the works and the participation of the [...]

The critic Hugo Parpagnoli describes the ongoing condition of expression and the different processes undertaken by Kenneth Kemble throughout his career. In his opinion, Kemble’s recent works transform pre-manufactured objects into constituent [...]

Cayetano Córdova Iturburu wrote a highly favorable review of the exhibition by Kenneth Kemble at Galería Lirolay. He praised the artist’s ability and training and discussed the text found in the artist’s exhibition catalogue, in which he [...]

Raúl González Tuñón negatively critiques the use of materials within the compositional strategy employed in Kenneth Kemble’s works. The critic regards Kemble’s compositions as a mere nonsense around aesthetic research [...]

This article is an ironic commentary written by James Barry that negatively refers to the peculiar nature of the works exhibited at Galería Lirolay. Barry focuses on both the assortment of materials used by Kenneth Kemble and the prizes reached by [...]

Invitation card for the show Arte Destructivo [Destructive Art]. It is relevant to understand the formal mechanisms of the artistic milieu activated by artists in order to promote the exhibition. Thus exaggerating the show’s radical impact facing [...]

Enrique Azcoaga offers a negative critique of the exhibition of destructive art, which he describes as artistically mounted garbage heap, a crude stage, literal and pompier. He outlines the differences between this trend with both Dadaism and [...]

Kenneth Kemble tackles the authorship of an idea of destructive art, which is more an experimentation than an -ism. In his view, destructive art evokes the diversity of man’s essential needs: destruction as emotion, the pleasure and the [...]

Kenneth Kemble writes about Luis Alberto Wells and Rubén Santantonín and considers them to be artistas malditos [“maudit”] artists presenting an innovative art; although, it was difficult for the public attending at Galería Lirolay to digest [...]

Kenneth Kemble writes about the exhibitions taking place in several galleries. By observing the works of five female artists, he is able to analyze the variables in Argentinean art at that moment. Based on a formal analysis of this production, he [...]

Kenneth Kemble writes that the Palanza Award was a disappointment because those who were invited to participate, the great majority of them, showed works of a lesser quality; also, he believes that a shift in the public’s aesthetic taste has taken [...]