Perceptismo : Teórico y polémico (Buenos Aires, Argentina). -- Ago. 1951
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The text is a programmatic source in which Raúl Lozza explains the transformation process of a painting according to the Perceptivist dynamics. Faced with the subjective movement of all representative and abstract painting based on appearance as well as the mechanical traveling of motion, Lozza considers that a dialectical movement applies. But only if it is understood as the dynamic synthesis proposed by Perceptivism through the balance of the plane, form, and color. Likewise, he stresses that that dynamics is caused by the laws of painting themselves; their ongoing transformation, in turn, by either creative making or human activity.
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, insofar as it disseminates the programmatic bases related to the Perceptivist approach.