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.
The article reflects on the vanguardist rhetoric bound to the polemical manifesto of the group headed by Tomás Maldonado, and recognizes its inability to carry out the proposed reevaluation. It considers, moreover, that the artistic task presupposes the choosing of sides with respect to all values and all possible realities.
The nine issues of nueva vision. revista de cultura visual. Artes, arquitectura, diseño industrial, tipografia [New Vision: Visual Culture Magazine–Arts, architecture, industrial design, typography] were designed to operate as a space for the redefinition and diffusion of Concrete art; the magazine was published between December 1951 and 1957. It was edited by Tomás Maldonado. Although over the years its committee of writers varied in membership, the participants included: Carlos Méndez Mosquera (1930), Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito (1923-1993), the architect Horacio Baliero, [and] Edgar Bayley (1919-1990). The first issue specifies that the typographical composition [was produced] by Alfredo Hlito. The issue number 2/3 states that “nv magazine, new vision, is the property of new vision editorial s.r.l. (in formation).” Although [the magazine] was directed by Tomás Maldonado, in the ninth issue he is listed as the Founder.
Tomás Maldonado is an intellectual, painter, and designer who was born in Buenos Aires in 1922. In 1945 he became a founding member of the movement of painters known as Asociación de Arte Concreto — Invención [Concrete Art and Invention Association]. In 1954 he moved to Germany, where he became a professor at Hochschule für Gestaltung [School of Advanced Studies in Form], an institution that he later directed.
This document was selected because it analyzes the state of Concrete Art within the Argentinean vanguard in the early 1950s.