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 programmatic source in which Raúl Lozza summarizes eight chapters of his book El color en la pintura. Su investigación estética objetiva [Color in Painting: Its Objective Aesthetic Research], and, as the text announced, Editorial Diálogo would be the publishing house. In it, he analyzes the properties of color stating that Perceptivist art is not based on an isolated quality in order to form a general rule, instead, he considers mandatory to act by deduction and induction on the chromatic field. Likewise, Lozza ponders that Perceptivism takes for granted that color is not the representation of light, but light itself. In his opinion, through the conquest of the actual plane, one achieves the conciliation of chromatic opposites because there is a problem of form between the quantity and the quality of color, a key issue that this tendency is able to solve.
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, Province of Buenos Aires. 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, within the Perceptivist proposal, insofar as it disseminates the programmatic bases related to the dynamics of color.