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Fragment of the conference given by Edgar Bayley on September 5, 1946, at the Centro de Profesores Diplomados de Buenos Aires [Center for Certified Professors, Buenos Aires]. Among other topics, the text registers the contributions of the Asociación Arte Concreto — Invención [Concrete Art and Invention Association] to the canonical trajectory of the historic Avant-Garde movements, specifically mentioning the separation of elements in the compositional space while maintaining the co-planar order.
The publishing project of the Asociación Arte Concreto — Invención [Concrete Art and Invention Association] consisted of two publications: the magazine Arte Concreto [Concrete Art], published in August 1946, and the Boletín de la Asociación de Arte Concreto Invención n°2 [Concrete Art and Invention Association Bulletin n° 2], which appeared in December 1946. The Asociación de Arte Concreto — Invención was made up of Edgar Bayley, Antonio Caraduje, Simón Contreras, Manuel Espinosa, Alfredo Hlito, Enio Iommi, Obdulio Landi, Raúl Lozza, Tomás Maldonado, Alberto Molenberg, Primaldo Mónaco, Oscar Nuñez, Lidy Prati, Jorge Souza, and Matilde Werbin; Manuel Espinosa, Raúl Lozza, and Tomás Maldonado directed the secretariat of the organization. Juan Mele, Gregorio Vardanega, and Virgilio Villalba later joined the publications.
Edgar Bayley was the name adopted by Edgar Maldonado Bayley, an Argentinean poet who was born in 1919 and died in 1990. He participated in the creation of Arturo magazine; he was a founding member of the Asociación Arte Concreto — Invención and he was a member of Poesía Buenos Aires [Buenos Aires Poetry group], having published numerous books of poems, stories, and essays.
This document was selected because of how it explains, within the context of the period, the radical conception of concrete artists with regard to the relationship between forms and space.