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In this review, Abraham Haber discusses the connections created by Mondrian, Le Corbusier, Gorin, and Max Bill between painting and architecture, in order to show how they differed from the ideas that were proposed by Perceptivism.


Perceptismo. Teórico y Polémico [Perceptism: Theoretical and Controversial] was the Perceptist group’s magazine. The nine issues that were published in Buenos Aires between October 1950 and July 1953 carried articles by Raúl Lozza (1911), Rembrandt van Dyck Lozza (1915), and Abraham Haber (1924-86). The final issue was subtitled, “A Tribute to an Attempt at Peace” but the group decided to withdraw it from circulation because of the risk of confiscation under the prevailing censorship of the times. Perceptivism was created by Raúl Lozza, the Argentinean artist, after he left the Arte Concreto — Invención Association. The Perceptivist idea is anchored by three essential principles: the replacement of the traditional background with the concept of a color field (the architectural wall), the creation of the “cualimetría” [quality measurements] of the plane, and the centrifugal structure of references into space aimed at eliminating the influence of the periphery.

Abraham Haber was a philosopher and an expert on the work of the Swiss psychologist Carl Gustav Jung. Haber wrote a book, Un símbolo vivo [A Live Symbol], in addition to his activities as an art critic, he also charted the theoretical course for the Perceptivist group. This particular document has been included because it refers to the nexus that, according to the Perceptivist proposal, exists between painting and architecture.

Cristina Rossi
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Navidad Laudi de Haber, Buenos Aires, Argentina
Archivo Fundación Espigas.