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Historical, aesthetical and epistemological mobility in the formation of a photographic field in Argentina, 1930-1960[caption id="attachment_2871" align="alignleft" width="234"] Boleslaw Senderowicz. #100487 negative. Photomontage, 1961[/caption]This project aims to analyze the conformation of a professional and artistic photographic field in Argentina between 1930 and 1960, in the context of the insertion of analogical images within the mass culture and cultural industries. Besides the works of certain photographers the project focuses on discursive and visual productions that circulated in specialized photographic magazines. It also studies the contribution of some institutional agents to aesthetic legitimation of photography, like professional and amateur associations, art galleries, Salons and others.Diego Guerra (Buenos Aires, 1976) received his PhD in Art History from the Universidad de Buenos Aires and in Spanish from the Université Rennes 2. He graduated in Arts at the Universidad de Buenos Aires. His research focuses on the history of photography in Argentina, especially on photography’s insertion into mass culture and its professional and aesthetic institutional legitimation. He is a postgraduate teacher at UNTREF and the Universidad Nacional de Luján, and a member of PICT project “Material explosion. Technical, aesthetic and material strategies in Antonio Berni’s work between the ’50s and the ’80s” that is based at the Centro de Investigación en Arte, Materia y Cultura (UNTREF) and directed by Gabriela Siracusano.