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 article challenges the arts teachings offered by Professor Cecilia Marcovich. In it, Hlito reproaches her not only for her reactionary revisionism but also for teaching that modern art ended with Cubism.
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.
Born in 1923, Alfredo Hlito was an Argentinean artist who participated in the Asociación Arte Concreto — Invención and the Grupo de Artistas Modernos de la Argentina [Group of Modern Artists of Argentina]. Between 1963 and 1973, he lived in Mexico City; he died in Buenos Aires in 1993.
Cecilia Marcovich was an Argentinean artist and professor who disseminated the ideas of painter André Lhote in her classes. In 1935, together with Lino Enea Spilimbergo, she began teaching the visual arts at the Agrupación de Intelectuales, Artistas, Periodistas y Escritores (AIAPE) [Association of Intellectuals, Artists, Journalists and Writers].
This document was selected for its testimony to the polemical debate between the Concrete art vanguard and those followers of figurative trends, which were sanctioned at that time.