The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This is the Manifesto in which the Madí group claims to have invented the irregular, cut-out frame; painting and sculpture that incorporate articulated movement; and a form of artistic expression that is both plural and playful. The group also announced the 3rd Madí Exhibition, to be held at the Bohemian Club, at the Galerías Pacífico in Buenos Aires, from November 2 to 18, 1946.
Some of the Argentinean artists who were involved in Arturo, the magazine that was published in the summer of 1944, organized an exhibition of their work at the home of Enrique Pichón-Rivière in October 1945; a month later they organized another exhibition, this time under the name Arte Concreto — Invención Movement, at Grete Stern’s house. As a result of certain differences between them, the artists then split into two groups, the Arte Concreto — Invención Association (aaci), and the Madí Movement. A year later, the Madí Movement subdivided again into two groups, one of which was led by Carmelo Arden Quin, and the other—named Madinemsor—by Gyula Kosice. The following artists took part in the 3rd Madí Exhibition: Esteban Eitler, Kosice, Valdo Wellington, Martín Blaszko, Diyi Laañ, Dieudonné Costes, Ignacio Blasco, S. Joffe Lemme, J. E. Fassio, E. Steiner, Rhod Rothfuss, and Arden Quin. This particular document has been chosen because it shows that, among the avant-garde group, there was a great deal of interest in promoting the Madí group’s program by means of manifestos and pamphlets.