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| Florida group (Grupo Florida) | |
|---|---|
| Name | Florida group (Grupo Florida) |
| Background | literary movement |
| Origin | Buenos Aires, Argentina |
| Years active | 1910s–1920s |
| Genres | Modernismo, Avant-garde |
| Associated acts | Martín Fierro, La Nación |
Florida group (Grupo Florida) was an Argentine literary and artistic circle centered in Buenos Aires during the 1910s and 1920s that promoted cosmopolitan Modernismo and avant-garde aesthetics. The group met in salons near Florida Street and published in periodicals that debated cultural ties with Paris, Madrid, New York City, and Montevideo. Influential in reshaping Argentine literature and visual arts, the circle intersected with contemporaneous movements in Spain, Uruguay, and Mexico.
The group's emergence followed the 1910 centennial celebrations of Argentina, the shifting cultural currents after the War of the Triple Alliance and amid migrations from Europe, including Italy and Spain. Intellectual exchanges with figures associated with Modernismo, Symbolism, and Futurism influenced debates in salons, cafés, and periodicals such as La Nación, Martín Fierro, and La Prensa. Contacts with émigré networks in Paris, interactions with Generation of '98 writers, and parallel activities in Montevideo and Madrid framed the group's ambitions to redefine Argentine cultural identity in the context of transatlantic modernity.
Notable participants included poets and editors associated with Vicente Huidobro, Victoria Ocampo, Jorge Luis Borges, Ricardo Güiraldes, Leopoldo Lugones, Norah Lange, Oliverio Girondo, Xul Solar, and Raúl González Tuñón. Visual artists and critics linked to the circle included Emilio Pettoruti, Horacio Butler, and Marta Minujín-adjacent figures. Publishers and journalists such as those from Martín Fierro, editors tied to La Nación, and intellectuals connected with Universidad de Buenos Aires seminars and salons played organizing roles. The network extended to collaborators in Madrid and Barcelona, to avant-garde correspondents in Paris, and to cross-border literary ties with Montevideo and Santiago.
The circle produced poetry, essays, manifestos, and visual exhibitions that circulated in magazines and salons, responding to European currents including Symbolism, Surrealism, and Futurism. Members staged readings in cafés near Florida Street, curated shows in galleries linked to Museo Nacional de Bellas Artes, and published in serials such as Martín Fierro and Proa. Collaborations involved translators of Paul Valéry, adapters of Henri Bergson-influenced essays, and exchanges with Spanish journals tied to Ramón Gómez de la Serna and Juan Ramón Jiménez. Interdisciplinary projects united poets with painters from the Argentine avant-garde and architects informed by international trends.
The group advocated cosmopolitanism, formal experimentation, and a break with parochial realism as articulated by figures arguing against regionalist constraints exemplified by some criollismo proponents. Aesthetic principles drew on Modernismo, the rhythmic and imagist innovations associated with Rubén Darío, and affinities with Surrealism and Dada. Debates engaged ideas from José Ortega y Gasset, Miguel de Unamuno, and Blaise Cendrars while contesting positions held by established critics at La Nación. Their aesthetic program favored hybrid forms, cosmopolitan lexicon, and formal play evident in poetry by Jorge Luis Borges and visual experiments by Xul Solar and Emilio Pettoruti.
Key publications included individual collections and collective issues in periodicals: selected poems and essays by Oliverio Girondo, early writings by Jorge Luis Borges in literary supplements, visual portfolios featuring Emilio Pettoruti, and collaborative manifestos in Martín Fierro and Proa. Works circulated alongside translations of Paul Valéry, essays on Henri Bergson, and reviews referencing Rubén Darío, Ramón Gómez de la Serna, and Vicente Huidobro. Anthologies and salon catalogs documented exhibitions involving members linked to Museo Nacional de Bellas Artes and publications in La Prensa and Revista de Occidente.
The circle influenced later currents including Babel-era modernists, post-1920s Argentine avant-garde poets, and writers active in the Generation of '40. Its members shaped careers of internationally recognized figures such as Jorge Luis Borges, informed critical debates at Universidad de Buenos Aires, and affected visual arts trajectories tied to Museo Nacional de Bellas Artes collections. Transnational links with Madrid, Paris, Montevideo, and Mexico City contributed to broader Latin American modernist networks that engaged later movements like Surrealism and Concrete poetry. The group's legacy persists in scholarly studies at institutions including Biblioteca Nacional Mariano Moreno, university departments of Comparative literature, and curated exhibitions in Buenos Aires galleries.
Category:Argentine literary movements