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.
In this article, Raúl Lozza explores the essence of representative painting and relates it to abstract, concrete and non- objective art, showing that those forms of painting are still burdened with the contradictions of figurative art. Lozza suggests that Perceptivism achieves its synthesis by means of a total transformation annihilating the form-content dichotomy.
Perceptismo. Teórico y Polémico [Perceptism: Theoretical and Controversial] was the Perceptivist 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. Raúl Lozza is an Argentine artist; he was born in 1911. Lozza was a member of the Editorial Board of Contrapunto magazine, as well as a founding member of the Arte Concreto — Invención Association and, in 1947 he created Perceptivism, which published its own magazine. Lozza continued to work on a relational theory of color and on the concept of a color field. He currently lives in Buenos Aires. This particular article has been chosen because it explains the fundamentals of the Perceptivist proposal, especially as it relates to distinctions between form and content.