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 Manifesto expresses support for a state of permanent invention in terms of the Arte Concreto Movement. The document states that mankind is creative, constructive and realistic, and that existence is but the synthesis of a binomial: space-time.
In October 1945, some of the artists who were involved in the 1944 launch of Arturo magazine organized an exhibition of their works under the name of Arte Concreto — Invención [Concrete Art and Invention] at the home of Enrique Pichón-Rivière. In December 1945, another exhibition was organized, this time at Grete Stern’s home, under the name of Arte Concreto — Invención Movement. The following artists were represented at this event: Elisabeth Steiner, Raymundo Rasas Pet, Carmelo Arden Quin, Rhod Rothfuss, Alejandro Havas, Ricardo Humbert, Grete Stern, Valdo Wellington, Dieudoné Costes, Sylwan-Joffe Lemme, Edgard Bayley, Gyula Kosice, Karen Haba, Rodolfo Arizaga, Esteban Eitler, Lily Saslavsky, Darío Soria, Martín Fuchs, Germán Erhardt, Simón Zlótnik, Alejandro Barletta, and Renate Schottelius. Arturo magazine was published in Buenos Aires during the summer of 1944, with Carmelo Arden Quin, Rhod Rothfuss, Gyula Kosice, and Edgar Bayley on the editorial board. The original plan was to publish the magazine four times a year, at the end of each season but, as things turned out, the first issue was also the last. In addition to the articles contributed by the editorial staff, the single issue of Arturo also featured poems by Murilo Mendes (from Brazil), Vicente Huidobro (from Chile), and Joaquín Torres-García (from Uruguay).
Gyula Kosice (né Fernando Fallik) (1924–2016) was born in Kosice (currently Slovakia). He created his body of work in Argentina, where he spent his working life. He was co-editor of Arturo magazine, and later joined the Madí group. Kosice pioneered the use of new materials, experimenting with Plexiglas, glass, and neon tubes. He developed an interest in kinetics and devised ways of using water in his various projects. Rhod Rothfuss was a Uruguayan artist who died in 1969. He was involved in the creation of Arturo magazine, and was active in the Arte Concreto — Invención Movement. He also joined the Arte Madí group in 1946, and in 1948 showed his work at the Salon des Réalités Nouvelles in Paris. Carmelo Arden Quin is a Uruguayan artist who, in 1935, made contact with Joaquín Torres-García and his constructive art project. Arden Quin settled in Buenos Aires in the early forties, helped create Arturo magazine, became involved with the Arte Concreto — Invención Movement, and was one of the founding members of the Arte Madí group. He currently lives and works in France.
This document has been selected for it records one of the first proclaims by young Argentinean vanguardists of Concrete art trends in the guise of a manifesto.