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, Alfredo Hlito reviews the journey from the very early movements to the current state of Concrete art. He acknowledges the advantage of being familiar with new forms, but also reminds us that these forms have been steadily drained of all meaning by the particular manner in which they were widespread.
The nine issues of nueva visión. revista de cultura visual. Artes, arquitectura, diseño industrial, tipografía [New Vision: A magazine devoted to visual culture. Art, architecture, industrial design, typography] were published between December 1951 and 1957, and were intended as a place in which to redefine and disseminate concrete art. Tomás Maldonado (1922) was in the Editor’s chair and the Editorial Board consisted, at different times over the years, of Carlos Méndez Mosquera (1930), Juan M. Borthagaray, Francisco Bullrich, Jorge Goldemberg, Jorge Grisetti, Rafael E. J. Iglesia, Mauricio Kagel, Guido Kasper, Alfredo Hlito, the architect Horacio Baliero, and Edgar Bayley (1919-90). A note in the first issue attributes the typographical composition to 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 Argentine artist, born in 1923. He was involved in the Arte Concreto — Invención Association and in the Artistas Modernos de la Argentina Group. He spent a decade in Mexico City, from 1963 to 1973, and died in Buenos Aires in 1993. This particular document has been included because it examines the contributions made by works of Concrete art, and contemplates how they were accessible to the public.