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.
This is a text that analyzes the passage from figuration to abstraction, considering both plastic and philosophical aspects, and aiming to reach the solutions contributed by Perceptivism. It states that Concrete painting became a reality after the emergence of Perceptivist art, which was able to integrate and synthesize, in a single field, the problems of color-form, the plastic structure, and architecture. In the argument set forth by Raúl Lozza, the form liberated in space required a structure that provided its existence inasmuch as color should be structured by means of the shape character.
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. Rembrandt van Dyck Lozza (1915–1996) was born in Alberti, Province of Buenos Aires. He exhibited his first works in his hometown in 1928. Two years later, he traveled to Buenos Aires and studied at the Escuela Nacional de Bellas Artes [National School of Fine Arts], he later joined in the Instituto de Artes Gráficas [Institute of Graphic Arts] under the direction of Lino Enea Spilimbergo and, around 1945, together with his brothers, he participated of both Asociación Arte Concreto — Invención [Concrete Art and Invention Association] and the Perceptivist group. This source has been selected insofar as it analyzes the differences between Abstract painting and the synthesis achieved by Perceptivism.