The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This text by Raúl Lozza was published in the second issue of Perceptismo. Teórico y polémico, the official publication of the Perceptist movement. In it, Lozza questions the boundaries between art and life to underscore that, unlike art that tends towards representation, Perceptivism supports the “progressive task of moving humanity forward.”
In this text, Raúl Lozza (Alberti, 1911–Buenos Aires, 2008) questions the boundaries between art and life. He explains that Perceptivism eschews any form of artistic expression that tends towards representation, which leads the viewer to “a state of emotional and psychological evasion,” or paralysis. Unlike those slow or static art forms, Perceptivism supports “progressive art that moves humanity forward.”
Lozza also rejects the “world of dreams” as engine of artistic creation; dreams, he explains, constitute the “desideratum,” the desired horizon, “of waverers that neither fight nor create.” In other texts [see in the ICAA digital archive by Raúl Lozza “Sociedad y Arte” (doc. no. 1298306)], Lozza and his peers criticize those inclined to representation rather than to the transcendence pursued by the Perceptists. In Lozza’s view, representation was developed at “primitive stages of evolution,” and hence is not capable of engaging present-day questions, aesthetics, or politics.
In this text, Lozza recognizes the existence of a new relationship between the “subject” and the “object” or, to put it differently, between the “social being” and “real exteriority.” According to his argument, Perceptist painting “becomes social and collective insofar as its essential elements—its structure—are materialized and rendered concrete by means of a plane-color placed on an architectural wall.” In close dialogue with architecture, then, (Perceptist) painting takes shape in a new material and concrete relationship with the world.
Though he does not explore it in depth, Raúl Lozza formulates the interesting idea that the painter who strays too far from “practical work” and from technique in the broadest sense of the word “idealizes his needs and spiritualizes matter.” What such a painter does, in other words, is akin to producing fetishes—that is, objects steeped in extraordinary traits that deny and erase the work their production entails. A fetish, Lozza suggests, is an object essential to prayer and worship, but not to the transformation of the human being.
Published in Argentina from 1950 to 1953, the journal Perceptismo. Teórico y polémico was the official publication of a group of artists that included, among others, Raúl Lozza and Rembrandt van Dyck Lozza (Alberti, 1915–Buenos Aires, 1996). The Perceptist movement emerged, in a sense, in response to the abstract and concrete movements that took hold in Latin America in the mid-twentieth century.
[For further reading, see in the archive by Abraham Haber “Raúl Lozza pintor” (doc. no. 1298504), and “El proceso pictórico del ‘perceptismo’” (doc. no. 1298485); and by Raúl Lozza “La nueva estructura del perceptismo: conclusión” (doc. no. 730956), and “[Ante la decadencia y espíritu negativo...”] (doc. no. 731656)].