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| Martín Fierro (magazine) | |
|---|---|
| Title | Martín Fierro |
| Category | Literary magazine |
| Frequency | Weekly |
| Firstdate | 1924 |
| Finaldate | 1927 |
| Country | Argentina |
| Based | Buenos Aires |
| Language | Spanish |
Martín Fierro (magazine) was an Argentine avant-garde weekly literary and cultural periodical published in Buenos Aires between 1924 and 1927. It served as a hub for modernist, vanguardist, and nationalist debates involving writers, artists, and intellectuals associated with movements in Argentina, Spain, France, Italy, and the United States. The magazine fostered exchanges among figures linked to institutions and events across Latin America and Europe.
Founded in 1924 amid ferment in Buenos Aires and during the post-World War I cultural realignments, the periodical emerged after earlier publications such as La Plata-era reviews and the activities of groups connected with Universidad de Buenos Aires circles. Its inception followed debates at salons influenced by personalities from José Ortega y Gasset-inspired forums, José Hernández-renewal enthusiasts, and veterans of the Boedo Group and the Florida Group. Editorial meetings drew participants aligned with surrounding institutions like the Teatro Colón, writers who had visited Madrid, Paris, and Rome, and critics who followed the work of Marcel Duchamp, Filippo Tommaso Marinetti, and Guillermo de Torre. The magazine ceased publication in 1927 as contributors migrated to other journals and ideological rifts widened amid reactions to events such as the 1929 crisis precursors.
Martín Fierro presented manifestos, poetry, short fiction, visual art reproductions, essays, and theater criticism that reflected ties to Modernism, Futurism, Surrealism, and Criollismo. Editorial lines engaged with international publications like L’Action Française-adjacent debates, Spanish reviews such as Revista de Occidente, French journals like La Nouvelle Revue Française, and Italian periodicals including La Ronda. Content ranged from polemical editorials invoking the spirit of José Hernández and rural archetypes to experimental prose influenced by James Joyce, T. S. Eliot, Gonzalo Torrente Ballester-era modernity, and visual pieces echoing Pablo Picasso and Wassily Kandinsky. The magazine maintained columns addressing theater linked to Federico García Lorca productions, visual arts aligned with exhibitions at Galería Witcomb, and literary debates referencing translations of Fyodor Dostoevsky, Leo Tolstoy, and Anton Chekhov.
Regular contributors included members of the Florida Group such as Oliverio Girondo, Jorge Luis Borges, Leopoldo Marechal, and Alfonsina Storni, as well as artists and critics like Xul Solar, Norah Lange, Evar Méndez, and Raúl Scalabrini Ortiz. International correspondents and interlocutors ranged from admirers of Miguel de Unamuno and Ramón Gómez de la Serna to readers of Ezra Pound and Pablo Neruda. Notable publications in the magazine comprised early poems and essays by these writers, short fiction experiments influenced by Arthur Rimbaud and Stéphane Mallarmé, and polemical pieces responding to translations of Friedrich Nietzsche and essays on Sigmund Freud. The periodical published visual contributions related to exhibitions by Emilio Pettoruti, Antonio Berni, and reproductions in dialogue with Henri Matisse.
The magazine played a central role in disputes between advocates of cosmopolitanism and proponents of localist criollismo, engaging figures associated with Hipólito Yrigoyen-era politics and critics influenced by Leopold von Ranke-style historiography. It fostered polemics with outlets linked to the Boedo Group and magazines sympathetic to Anarchism and Socialism-aligned intellectuals, while attracting scrutiny from conservative sectors connected to Miguel Ángel Zavala Ortiz and Catholic cultural circles. Internationally, Martín Fierro participated in transatlantic debates with editors of Revista de Occidente, contributors to La Gaceta Literaria in Madrid, and correspondents in Montevideo and Santiago. Its cultural interventions shaped theatrical repertoires referencing Juan Ramón Jiménez and informed critical approaches to exhibitions at venues like the Museo Nacional de Bellas Artes.
Circulation was centered in Buenos Aires with secondary distribution to urban centers including Rosario, Córdoba, La Plata, Montevideo, and Santiago de Chile. Copies reached intellectual salons, cafes such as those on Avenida de Mayo, university departments at Universidad Nacional de La Plata, and bookstores around the Avenida Santa Fe corridor. Reception varied: metropolitan elites in Recoleta and avant-garde circles praised its audacity, while labor-aligned readers and provincial audiences criticized its perceived elitism. Reviews appeared in rival periodicals connected to La Prensa, La Nación, and provincial newspapers, prompting debates that extended into radio discussions on stations like LR2 Radio Mitre.
Though short-lived, the magazine left a lasting imprint on Argentine letters by launching careers of key Modernist and Vanguardist figures who later shaped institutions such as Biblioteca Nacional, film festivals influenced by early silent cinema exhibitions, and theater movements that echoed in productions at Teatro Cervantes. Its editorial model influenced subsequent magazines like Sur (magazine), Vórtice, and various university reviews at Universidad de Buenos Aires. The periodical’s synthesis of European avant-garde currents with local traditions contributed to the evolution of Argentine narrative and poetic forms practiced by later writers associated with Boom Latinoamericano precursors and critics who curated collections in museums and academic presses.
Category:Literary magazines published in Argentina Category:1924 establishments in Argentina Category:1927 disestablishments in Argentina