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Agrupación de Intelectuales, Artistas, Periodistas y Escritores (AIAPE)

  • Name:
    Agrupación de Intelectuales, Artistas, Periodistas y Escritores (AIAPE)
  • Alternative names:

    Association of Intellectuals, Artists, Journalists and Writers

  • Kind of Organisation:
    Association
  • Introduction:

    The Agrupación de Intelectuales, Artistas, Periodistas y Escritores – AIAPE (Association of Intellectuals, Artists, Journalists and Writers) was a main association that helped migrants integrate into Buenos Aires’ cultural life.

    Word Count: 30

  • Content:

    Among the institutions that helped migrants integrate into Buenos Aires’ cultural life, the Agrupación de Intelectuales, Artistas, Periodistas y Escritores – AIAPE (Association of Intellectuals, Artists, Journalists and Writers) must be mentioned. Founded in 1936, the AIAPE brought together European artists and intellectuals exiled in Argentina, as well as Argentinians committed to contemporary aesthetics and current political issues.
    The AIAPE published a magazine called Unidad por la Defensa de la Cultura (Unit for the Defence of Culture). Its illustrations sought to accompany and facilitate the written texts and to develop people’s libertarian imaginaries. The magazine featured the Spanish engravers Pompeyo Audivert, Juan Batlle Planas and José Planas Casas, as well as the German caricaturist Clément Moreau, all of whom published their artworks with the social impetus to engage with contemporary political issues. Most of them had a migrant background and had arrived in Buenos Aires in extremis, like Moreau, who fled his country in 1933.
    The AIAPE also organised Salons and exhibitions. For their first Salon in 1936 at the Salón Municipal de Bellas Artes in Calle Perú 190, artists such as Pompeyo Audivert, Antonio Berni, Juan Carlos Castagnino, Clément Moreau and Anatole Saderman displayed some of their works. For the occasion, the art critic Cayetano Córdova Iturburu wrote from the pages of Unidad that these artists, “our artists”, were on the way towards a revolutionary art, “their art is what art should be: an expression of collective feelings and yearnings” (Córdova Iturburu 1936, 13). However, something was still missing: “they ought to free themselves from the foreign vision that still clouds many eyes, to see our reality with our eyes, to feel as artists this spectacle of a thriving society that is born from the ruins of a decadence and to acquire the appropriate technical language” (Córdova Iturburu 1936, 13).
    The eight-year period during which the AIAPE was active correspond to a context of deep rethinking of the political system in Argentina. It had been a particularly difficult time in the country with military coup in 1930, the first of a long series that ended in 1983. In this context, the association sought to bring together centrist and leftist Argentine intellectuals in the common project labelled "defence of culture". Thus AIAPE emerged as one of many local responses to the global crisis of economic and political liberalism that began in 1929. It reflected the ideological upheaval of the 1930s and early 1940s, and strongly contributed to the articulation of left wing nationalism. The AIAPE maintained a high level of activity. Its cultural offerings included conferences, exhibitions, an ongoing painting and sculpture workshop under the direction of Cecilia Marcovich, a Jewish-Romanian painter and sculptor, a puppet theatre run by the German-descended Enrique Wernicke, and lectures on topics as diverse as jazz, provincial politics, and Uruguayan painting. Attendance at the lectures and events frequently exceeded the organisers' expectations.
    On the demise of Unidad por la Defensa de la Cultura, a new publication, Nueva Gaceta, was launched, using the same format as its predecessor but appearing more regularly, with 24 issues published between May 1941 and June 1945. AIAPE had in addition two publishing houses: Ediciones AIAPE and Cuadernos AIAPE.

    Word Count: 521

  • Known addresses in Metromod cities:

    Federación de Sociedades Gallegas, Calle Belgrano 1732, Buenos Aires (meeting place); Salón Municipal de Bellas Artes, Calle Perú 190, Buenos Aires (exhibition venue).

  • Signature Image:
    Pompeyo Audivert, Unidad, cover of Unidad por la Defensa de la Cultura, no. 1, January 1936. CeDInCI, Buenos Aires.
  • Media:
    Córdova Iturburu, Cayetano. "Primer Salón de la AIAPE." Unidad por la Defensa de la Cultura, no. 1, January 1936, p. 13. CeDInCI, Buenos Aires.
  • Bibliography (selected):

    Bisso, Andrés and Adrián Celentano. “La lucha antifascista de la Asociación de Intelectuales, Artistas, Periodistas y Escritores (AIAPE) (1935–1943).” El pensamiento alternativo en la Argentina del siglo XX, edited by Arturo A. Roig and Hugo E. Biagini, Biblos, 2006, pp. 235–265.

    Pasolini, Ricardo. “Scribere in eos qui possunt proscribere: consideraciones sobre intelectuales y prensa antifascista en Buenos Aires y París durante el período de entreguerras.” Prismas. Revista de Historia Intelectual, no. 12, 2008, pp. 87–108, https://ridaa.unq.edu.ar/handle/20.500.11807/1948. Accessed 14 April 2021.

    Word Count: 82

  • Archives and Sources:

    Centro de Documentación e Investigación de la Cultura de Izquierdas (CeDInCI), Buenos Aires, http://cedinci.org/.

    Córdova Iturburu, Cayetano. "Primer Salón de la AIAPE." Unidad por la Defensa de la Cultura, year 1, no. 1, January 1936, p. 13. América Lee, CeDInCI, http://americalee.cedinci.org/wp-content/uploads/2019/08/unidadAIAPE_a%C3%B1o1nro1_.pdf. Accessed 23 April 2021.

    Word Count: 58

  • Author:
    Laura Karp Lugo
  • Date of Founding:
    1936
  • Date of Disbandment:
    1944
  • Participants (selection):

    Pompeyo Audivert, Juan Batlle Planas, José Planas Casas, Clément Moreau, Cayetano Córdova Iturburu.

  • Metropolis:
    Buenos Aires
  • Entry in process:
    no
  • Laura Karp Lugo. "Agrupación de Intelectuales, Artistas, Periodistas y Escritores (AIAPE)." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/2950/object/5145-11009051, last modified: 12-05-2021.
  • Clément Moreau
    Graphic Artist

    German-born Clément Moreau had to exile to Buenos Aires due to his political activism. There, he was well integrated into the artistic milieu and published his caricatures in many publications.

    Word Count: 31

    Photo of Clément Moreau, “Truppe 38” in Argentina, 1938 (© Schweizerisches Sozialarchiv).
    Clément Moreau, Logo in Das Andere Deutschland, no. 45, December 1941.Clément Moreau, engraving printed in Lamarque, Nydia. "Mitin de Frente Unico en París." Unidad por la Defensa de la Cultura, no. 1, January 1936.Clément Moreau, engraving printed in Lamarque, Nydia. "Mitin de Frente Unico en París." Unidad por la Defensa de la Cultura, no. 1, January 1936.Photo of Clément Moreau, “Truppe 38” in Ramos Mejía, Argentina, 1939 (© Schweizerisches Sozialarchiv).
    Buenos Aires
    Pompeyo Audivert
    EngraverIllustrator

    Spanish-born Pompeyo Audivert migrated to Buenos Aires in 1911. He specialized in engraving, mastering its technique to the point of becoming a central figure in the local artistic field.

    Word Count: 28

    Pompeyo Audivert, engraving printed in Lamarque, Nydia. "Vosotros, enemigos." Unidad por la Defensa de la Cultura, no. 2, February 1936.
    Cuadrado, Arturo. “El grabador Pompeyo Audivert.” Correo Literario, 15 March 1944, p. 5.Pompeyo Audivert, Unidad, cover of Unidad por la Defensa de la Cultura, no. 1, January 1936. CeDInCI, Buenos Aires.
    Buenos Aires
    Unidad
    Magazine

    From 1936, the anti-fascist movement in Argentina found one of its most consistent opinion platforms in the magazine Unidad, organ of the Association of Intellectuals, Artists, Journalists and Writers (AIAPE).

    Word Count: 29

    Luis Seoane, Fascimo, cover of Unidad por la Defensa de la Cultura, no. 2, September 1937. CeDInCI, Buenos Aires.
    Pompeyo Audivert, Unidad, cover of Unidad por la Defensa de la Cultura, no. 1, January 1936. CeDInCI, Buenos Aires.Clément Moreau, engraving printed in Lamarque, Nydia. "Mitin de Frente Unico en París." Unidad por la Defensa de la Cultura, no. 1, January 1936.Clément Moreau, engraving printed in Lamarque, Nydia. "Mitin de Frente Unico en París." Unidad por la Defensa de la Cultura, no. 1, January 1936.
    Buenos Aires
    Galería Pacifico’s murals
    MuralBuilding

    A key episode in Argentina’s muralism was the creation of an extensive muralist programme at the Galerías Pacífico in 1946, carried out by the Grupo Taller de Arte Mural.

    Word Count: 31

    Dome of the Galerías Pacífico, general view (Photo: Milena Gallipoli)
    Manuel Colmeiro, La Pareja Humana, 1946, mural. Galerías Pacífico, Buenos Aires (Photo: Laura Karp Lugo).Manuel Colmeiro, Verano, 1946, oil on plaster, 2,5 x 9 m. Museo del Libro y de la Lengua, Buenos Aires.
    Buenos Aires
    Anatole Saderman
    Photographer

    Anatole Saderman is one of the photographers that represent modern photography in Argentina. He was involved in the artistic group La Carpeta de los Diez (The Folder of the Ten).

    Word Count: 30

    Anatole Saderman (via Wikimedia Commons).
    Anatole Saderman, Magnolia, 1935, photograph, 38 x 38 cm. Museo Nacional de Bellas Artes, Buenos Aires.Anatole Saderman, La mesa de Enrique Wirnicke, 1955, photograph, 44,5 x 38 cm. Museo Nacional de Bellas Artes, Buenos Aires.
    Buenos Aires