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 text reflects on the new meanings proposed by Concrete art. Alfredo Hlito’s approach distances itself from emphatic discourse—that which only indicates the concepts unacceptable to Concrete art (representation, illusion, symbols, etc.)—in order to focus on the postulates considered essential to the aforementioned art form.
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 (1930). 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. .
Alfredo Hlito was an Argentinean artist, born in 1923, who participated in the Asociación Arte Concreto — Invención [Concrete Art and Invention Association] and the Grupo de Artistas Modernos de la Argentina [Modern Artists Group of Argentina]. Between 1963 and 1973 he resided in Mexico City; he died in Buenos Aires in 1993.
This document was selected for its commentary on the postulates of Concrete art. Please note that this text was used by Hlito to present the exhibition of paintings in the Sala V [Room 5] at the Galería Van Riel, which took place in August and September of 1952.