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 in which the analysis of the structure of Perceptivist painting is concluded. Raúl Lozza notes that the theory and the measurement system with which the Perceptivist artist works allow for the liberation from the traditional methods which tend to create appearances and contradictions. In this sense, Lozza concludes that the creative experience in Perceptivism unifies theory and practice; a unity in which the structure is the technique itself— able to achieve a synthesis as an objective quality—in the creative process. All this means more than an isolated consideration of that which is objective because it is a functional reality, due to the unification of both the thing and the function.
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 sets the programmatic bases of Perceptivist structure, in an analysis that is developed in issues 3, 4, 5, and 6 of the magazine Perceptismo. Teórico y Polémico.