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La Carpeta de los Diez

  • Name:
    La Carpeta de los Diez
  • Alternative names:

    The Folder of the Ten

  • Kind of Organisation:
    AssociationPhoto Lab
  • Introduction:

    In 1953, a group of local and exiled photographers gathered and founded the collective work known as La Carpeta de los Diez, a milestone in Argentine artistic avant-garde.

    Word Count: 27

  • Content:

    In 1953 in Buenos Aires, a group of local and exiles photographers gathered and founded a collective known by the name of the object that identified them: La Carpeta de los Diez (The Folder of the Ten). They shared knowledge and practices, and exhibited their work in several Argentinian spaces for art. Throughout the experience of photography and the exhibition of the work, La Carpeta de los Diez is fully part of the Argentine artistic avant-garde. The group is at the same time an example of the cosmopolitanism that constituted the city of Buenos Aires at that time.
    The group featured three members from Argentina (Pinélides Fusco, Eduardo Colombo, Augusto Valmitjana), three from Germany (Annemarie Heinrich, Hans Mann, Max Jacoby), two from Italy (Giuseppe Malandrino, Juan Di Sandro), two from Hungary (Georges Friedmann, Alex Klein), one from Switzerland (Ilse Mayer), one from Russia (Anatole Saderman), one from Austria (Fred S. Schiffer) and one from Poland (Boleslaw Senderowicz). The group had ten members but in total 14 photographers were involved in it: when four had to abandon the group for different reasons, four others joined. They met monthly to exchange ideas, practise together, and prepare exhibitions. Their main task was filling a so-called Folder with photographic material that they then later discussed. After deciding together which topic or style they would work on (nude, flower, hand, solarisation effect, etc.), one member inserted a single photograph into the Folder and brought it to circulate between the members so that they could discuss and criticise the work. Each member wrote a commentary on the work and placed it in the folder before passing it onto the next person. Once everyone had commented, the photo was discussed in a group meeting. In most cases, the Folder reveals the way these artists in exile had mastered the local language, as a lot of them wrote in Spanish with absolute fluency and accuracy, testifying to their successful integration into Argentina. What the group’s members valued most, though, was creating, being stimulated, having their own photographic work reviewed by experts in the medium. They met in different public and private spaces but one of them was the photo studio of one of its founding members, Annemarie Heinrich (Av. Callao 1475, Recoleta).
    A speech celebrating the opening of the 1st Exhibition at Galería Picasso in September 1953 pronounced the following: “The Folder turned out to be more than a living school for us: as it was founder (builder) of critique, opinions and discussions among the different persons who were keen on photography; it also remained as an exercise of professional emulation (increase) and aesthetic improvement to achieve a better level in the production and creation of all and every one of its members through the active practice of critique, the mutual encouragement of auto criticism, the incentive to individual self-improvement through collective education and influence. The Folder has helped us to enjoy, above all, the pleasant experience of working together, of appreciating interchange and reciprocal support […]” (Speech at the opening of the 1st Exhibition at Galería Picasso, 1953). Without any external funding, every month La Carpeta de los Diez collected money for exhibitions: to buy racks on which to exhibit the photographs, to print the catalogues. In the exhibitions each member could show up to seven works: five of them could be chosen freely, and two had to come from the Binder. Innovatively, the photographs were displayed on racks, without frames, and were printed in a 50 x 60 cm format, which was large for the time. The group held six exhibitions: in the Galería Picasso (in Calle Florida 363, 1953), at Salón Kraft (in Calle Florida 681, 1954), at Salón Siam (in Calle Florida 936, 1956), at Salón Harrod’s (in Calle Florida 877, 1957), at the Office of Foreign Affairs (1958), and in the Opera Theatre (Av. Corrientes 860, 200 metres from Calle Florida 1959). They never succeeded in selling their work (Karp Lugo 2018). That Buenos Aires at the time had no existing market for artistic photographs explains the need for gathering together with the goal of creating a space for their work. Within the group, at a micro scale, networks are revealed to be crucial.

    Word Count: 689

  • Known addresses in Metromod cities:

    Annemarie Heinrich's photo studio, Av. Callao 1475, Recoleta, Buenos Aires (meeting place); Galería Picasso, Calle Florida 363, Buenos Aires (place of exhibition); Salón Kraft, Calle Florida 681, Buenos Aires (place of exhibition); Salón Siam, Calle Florida 936, Buenos Aires (place of exhibition); Salón Harrod’s, Calle Florida 877, Buenos Aires (place of exhibition); Office of Foreign Affairs, Buenos Aires (place of exhibition); Opera Theatre, Av. Corrientes 860, Buenos Aires (place of exhibition).

  • Signature Image:
    A page from the Folder of the Ten (© Archive Annemarie Heinrich, Buenos Aires).
  • Media:
    Photo of exhibition opening on 24 October 1956 at the Salón Kraft, Calle Florida 681, possibly taken by Annemarie Heinrich, Rolleiflex, Archive Annemarie Heinrich (© Archive Annemarie Heinrich, Buenos Aires).
    Photo of exhibition opening on 24 October 1956 at the Salón Kraft, Calle Florida 681, possibly taken by Annemarie Heinrich, Rolleiflex, Archive Annemarie Heinrich (© Archive Annemarie Heinrich, Buenos Aires).
    Photo of exhibition opening on 24 October 1956 at the Salón Kraft, Calle Florida 681, possibly taken by Annemarie Heinrich, Rolleiflex, Archive Annemarie Heinrich (© Archive Annemarie Heinrich, Buenos Aires).
  • Bibliography (selected):

    Pestarino, Julieta. "Apariciones del grupo fotográfico La Carpeta de los Diez en los últimos quince años del mercado del arte en Buenos Aires." H-ART. Revista de historia, teoría y crítica de arte, no. 4, 2019, pp. 165–182, doi: http://dx.doi.org/10.25025/hart04.2019.09. Accessed 8 February 2021.

    Word Count: 46

  • Archives and Sources:

    Archive Annemarie Heinrich, Buenos Aires.

    Speech at the opening of the 1st Exhibition at Galería Picasso, Florida 363, Buenos Aires, 2 September 1953. Archive Annemarie Heinrich, Buenos Aires.

    Karp Lugo, Laura. Interview with Alicia Sanguinetti. (Studio Annemarie Heinrich, Buenos Aires, 2018).

    Word Count: 38

  • Acknowledgements:

    My deepest thanks go to Alicia Sanguinetti.

    Word Count: 7

  • Author:
    Laura Karp Lugo
  • Date of Founding:
    1953
  • Date of Disbandment:
    1959
  • Participants (selection):

    Pinélides Fusco, Eduardo Colombo, Augusto Valmitjana, Annemarie Heinrich, Hans Mann, Max Jacoby, Giuseppe Malandrino, Juan Di Sandro, Georges Friedmann, Alex Klein, Ilse Mayer, Anatole Saderman, Fred S. Schiffer, Boleslaw Senderowicz.

  • Metropolis:
    Buenos Aires
  • Entry in process:
    no
  • Laura Karp Lugo. "La Carpeta de los Diez." METROMOD Archive, 2021, https://archive.metromod.net/viewer.p/69/2950/object/5145-11259268, last modified: 12-05-2021.
  • Annemarie Heinrich
    Photographer

    Annemarie Heinrich is one of the photographers that represent modern photography in Argentina, she co-founded the artistic group La Carpeta de los Diez (The Folder of the Ten) in 1953.

    Word Count: 29

    Annemarie Heinrich, Autorretrato con esfera, 1945, Archive Annemarie Heinrich, Buenos Aires (© Archive Annemarie Heinrich, Buenos Aires).
    Ursula Heinrich, Annemarie Heinrich, 1940, Archive Annemarie Heinrich, Buenos Aires (© Archive Annemarie Heinrich, Buenos Aires).Annemarie Heinrich, Autorretrato con cortina, 1943, Archive Annemarie Heinrich, Buenos Aires (© Archive Annemarie Heinrich, Buenos Aires).Annemarie Heinrich, Autorretrato con esfera 3, 1945, Archive Annemarie Heinrich, Buenos Aires (© Archive Annemarie Heinrich, Buenos Aires).Annemarie Heinrich, Self-Portrait with Camera and Mirror Sphere, c. 1945, Linhoff camera, Afga negative, 9 x 12 cm. (Wechsler 2015, 13, © Archive Annemarie Heinrich, Buenos Aires).A page from the Folder of the Ten (© Archive Annemarie Heinrich, 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
    Self-Portrait with Camera and Mirror Sphere
    Photograph

    In this photograph, Annemarie Heinrich, a German photographer who immigrated to Argentina in 1927, captures the image of her own physical appearance while demonstrating her technical virtuosity and her aesthetic search.

    Word Count: 30

    Annemarie Heinrich, Self-Portrait with Camera and Mirror Sphere, c. 1945, Linhoff camera, Afga negative, 9 x 12 cm. (Wechsler 2015, 13, © Archive Annemarie Heinrich, Buenos Aires).
    Buenos Aires