In the August issue we began the publication of this essay on Azuleña textiles with indigenous roots, written by a prestigious researcher from that city of Buenos Aires. The study delves into its ornamental features as well as its cultural roots. Ponchos and girdles woven in that region have a local identity that Palombo defines with the precision of an anatomist.

The rhomboid model

D'Orbigny pointed out that the pampas wool ponchos were adorned "with very original drawings and dyed with colors that are not very bright, but very solid, and of better use than the richer and more expensive ones that are made elsewhere with cotton clothes" [ 43].

Australia is a country whose history as a modern nation is related to the principle of "no man's land" and the transformation of that territory into the destination for English criminals.

From that immense island -Australia is the sixth largest country in the world-, Irina Podgorny brings us a text that talks about its history as a prison for British convicts -the penal colonies were closed around 1870, she observes- and stops at an episode that is remembered in the Melbourne Public Library with an exclusive space, whose protagonist was the bandit Ned Kelly, a figure that brings us closer to Juan Moreira in our country, and to Lampião, the Brazilian antihero, Virgulino Ferreira Da Silva.

Towards the end of the 19th century and the beginning of the 20th century, two Argentine writers were born, united by various circumstances and significantly separated in many aspects. Victoria Ocampo (Buenos Aires, April 7, 1890 – Béccar, January 27, 1979) was undoubtedly the most publicly recognized. Victoria Pueyrredón (Buenos Aires, July 6, 1920 - October 5, 2008) always preferred a low profile. Writing was the passion that united them, although their paths in letters and in their stories were very dissimilar.

Inés Yujnovsky (Coordinator).

Publisher Ampersand. Buenos Aires. 2022.

Quarto ( x cm), pages. Publisher's binding.

Photography, warns Inés Yujnovsky, supposes a peculiar way of knowing social reality, but also of creating it. From this perspective, the ten essays gathered -we include as such the Introduction and the Epilogue, texts by the coordinator and by Verónica Tell, respectively- approach photography as an agent of transformation, offering us valuable analytical material on Latin American diversity. from the end of the 19th century to the beginning of the present millennium.

Roberto Vega Andersen, Guillermo Vega Fischer, Abel Alexander.

Hilario. Arts Letters Crafts. Buenos Aires. 2022.

Quarto oblong (20,8 x 22 cm.), pages. Publisher's binding.

The work brings together a selection of old, modern and contemporary heritage photographs, from the first Daguerrean processes to the present. In this delivery with the participation of three contemporary photographer artists: Julie Weisz -the renowned photographer of Open Theater, already titled by the press, the Argentine Frida Kahlo; Eduardo Longoni, a great photojournalist who witnessed historical episodes that have traveled the world, and Sergio Barbieri, who traveled the country with his camera for decades recording the deep interior for the National Academy of Fine Arts and the National Fund for the arts.

By Abel Alexander*

Descendant of the German-born daguerreotypist, daguerreotype camera maker and photographer Don Adolfo Alexander (Hamburg, 1822 - Buenos Aires, 1881), his great-great-grandson -a renowned photographic historian- provides us with a specific bibliography on this first period of photography in Argentina, not including the classic titles in the history of national photography, such as the works of Federico Palma, Sameer Makarius, Miguel Ángel Cuarterolo, Juan Gómez, Vicente Gesualdo, Abel Alexander and others.