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This article discusses different concepts associated with the representation of objective reality. In the discussion, Mele focuses on those tenets expressed in the manifesto of the school-workshop directed by Professor Cecilia Marcovich.
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.
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].
Born in 1923, Juan Mele is an Argentinean artist who participated in the Asociación Arte Concreto — Invención. In 1948 he traveled to Paris with Vardanega. In 1955 he became a founding member of the Asociación Arte Nuevo [New Art Association], the group created at the initiative of Aldo Pellegrini and Carmelo Arden Quin. Currently, he lives and works in Paris and Buenos Aires.
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.