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.
In this text, historian and art critic Abraham Haber discusses the work of an outstanding member of the Perceptist movement, Raúl Lozza. The text was published in the final issue (July 1953) of Perceptismo. Teórico y polémico, the official publication of Argentinean Perceptivism.
In this text midway between a review and an interview, historian and art critic Abraham Haber (Buenos Aires, 1924–Buenos Aires, 1986) discusses Raúl Lozza (Alberti, 1911–Buenos Aires, 2008), one of the founders of Perceptivism. Published in the seventh issue of the journal Perceptismo. Teórico y polémico (July 1953), this article contextualizes the work of the Argentinean artist that tried “to revolutionize […] old intuitive methods of artistic creation.”
Lozza eloquently explains that his “primary contribution to painting is the conquest of the total, absolute plane by joining the functions of form and color” through Perceptivism. According to the artist, that movement rejects any scientific theory of color that would inevitably turn it into a tool at the service of creating work inclined to representation or expression. Lozza, on the other hand, is interested in color in close dialogue with form. For him, there is no such thing as abstract color geared to communicating something, but rather “colorful forms” that inhabit the architectural space.
In the interview that the text contains, Lozza explains that though his work reflects the present, the Perceptist movement has already forged “a wide path of relations between the visual and the social for times to come.” Lozza, in that sense, understands Perceptivism as a “theoretical reserve for the future.”
Significantly, this text by art critic Abraham Haber, who was interested in the work of psychoanalyst Carl Gustav Jung, was published in the final issue (July 1953) of Perceptismo. Teórico y polémico, the official publication of Argentinean Perceptivism.
[For further reading, see the following texts in the ICAA digital archive: by Raúl Lozza “La nueva estructura del perceptismo: conclusión” (doc. no. 730956), and “[Ante la decadencia y espíritu negativo...]” (doc. no. 731656); and by Abraham Haber “Pintura y arquitectura” (doc. no. 730645)].