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 analytical review of the various solutions arrived at by non-representative art also outlines the results of the “invention,” just as proposed by the Argentine concrete art movement.
The editorial efforts of the Asociación Arte Concreto — Invención [Concrete Art and Invention Association] yielded two publications: a magazine, Arte Concreto, published in August 1946, and the Boletín de la Asociación de Arte Concreto Invención nº 2 [Journal no. 2 of the Concrete Art and Invention Association] that appeared in December 1946. Arte Concreto magazine was also known as Arte Concreto — Invención although its imprint identifies it as Arte Concreto. The members of the editorial board were Edgar Bayley, Simón Contreras, Alfredo Hlito, and Raúl Lozza. This magazine published the Manifiesto Invencionista [Inventionist Manifesto], and included a poetry supplement with contributions from both Contreras and Bayley.Tomás Maldonado (b. 1922) is an intellectual, a painter, and a designer, who was born in Buenos Aires. In 1945 he helped found the painter’s movement known as the Asociación de Arte Concreto — Invención, and in 1954 he went to Ulm, Germany, to take up a position as a professor at the Hochschule für Gestaltung [School of Advanced Studies in Form], where he eventually became the director. This particular document has been chosen because it expresses the opinions held by concrete artists concerning both abstract and concrete art seen in the kernel of the production at that time after WWII.