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 Inventionist manifesto—published in the catalogue for the first exhibition of the Asociación de Arte Concreto — Invención [Concrete Art and Invention Association] (1946)—discards the illusory image of representative art and extols life, the acute technique and inventive elation as vital characteristics to be considered. The group states its position by expressing that its production is not a rebuttal to action, but it is longing to place man in the world.
The manifesto was signed by the members of the Asociación de Arte Concreto —Invención [Concrete Art and Invention Association]: Edgar Bayley, Antonio Caraduje, Simón Contreras, Manuel Espinosa, Alfredo Hlito, Enio Iommi, Obdulio Landi, Raúl Lozza, Rembrandt Van Dyck Lozza, Tomás Maldonado, Alberto Molenberg, Primaldo Mónaco, Oscar Núñez, Lidy Prati, Jorge Souza, and Matilde Werbin, with Espinosa, Lozza, and Maldonado acting as its secretaries. Tomás Maldonado wrote the text. Tomás Maldonado is an intellectual, painter, and designer born in 1922 in Buenos Aires. In 1945, he was one of the founding fathers of the painters movement known as Asociación de Arte Concreto-Invención, and, in 1954, he settled in Germany, where he was a professor at the Hochschule für Gestaltung Ulm [School of Advanced Studies in Form], an institution that he later directed. This first manifesto of the Asociación de Arte Concreto — Invención has been selected insofar as it brings to the fore the programmatic formulation of the group. It should be noted that the concepts set forth in this text have already been anticipated in the answer sent in by Maldonado for the survey “¿Adónde va la pintura?” [What Is the Future of Painting?]. It was carried out by the journal Contrapunto [Counterpoint] (see document. no. 731031).