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.
A text that analyzes the structure of Perceptivist painting by discussing the different solutions developed throughout the history of painting. Raúl Lozza considers the true structure to be that which offers independence and unity to the work and, in this sense, he notes that Perceptivist structure is not geometrical or mathematical, but organic. Lozza also affirms that Perceptivism does not intend to objectify anything that is different from its material elements and, consequently, its structure operates as an inventive factor, by conditioning the relationship between the object and the medium. By comparing the reality of the world that surrounds us with the aesthetic object, this tendency seeks to reintegrate itself to the realities of man.
Perceptismo. Teórico y Polémico [Perceptivism: Theoretic and Polemic] was the official publication for the Perceptivist group. In its seven issues—which circulated in Buenos Aires between October of 1950 and July of 1953—Raúl Lozza, Rembrandt van Dyck Lozza (1915), and Abraham Haber (1924–1986) wrote their essays. The last issue incorporated the subtitle “Homenaje al esfuerzo por la paz” [Tribute to the Effort Toward Peace] and the group decided to withdraw it from sale in light of the risk of having the edition seized due to the censorship that prevailed at the time. Perceptivism is the name given to the proposal created by Argentinean artist Raúl Lozza, after his split from the Asociación Arte Concreto — Invención [Concrete Art and Invention Association]. The Perceptivist argument is supported by three principles: the substitution of the traditional background by the notion of field (architectural wall), the creation of “cualimetría” [quality measurements] of the flat form, and the centrifugal structure of references in space, which seeks to preclude the incidence of the periphery. Raúl Lozza (1911–2008) was an Argentinean artist born in Alberti, Buenos Aires Province. He was a part of the editorial group of the journal Contrapunto [Counterpoint], was a founding father of the Asociación Arte Concreto — Invención and, in 1947, he created Perceptivism, an orientation that had its own publication. Lozza continued working both on a relational theory of color and on the notion of the colored field. This source has been selected insofar as it sets the programmatic bases of Perceptivist structure, in an analysis that is developed in issues 3, 4, 5, and 6 of the magazine Perceptismo. Teórico y Polémico.