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.
Martín Blaszko’s letter refers to the importance of rhythm in the visual arts at that time, in contrast to Raúl Lozza’s opinions in support of the plane. The Perceptist artist responds that his ideas could be more clearly understood by reading his article, “La nueva estructura” [The New Structure] which appeared on pages 2, 3, and 8 of the same magazine.
Martín Blaszko (1920) was born in Berlin, Germany, and settled in Argentina in1939. In about 1945 he met Carmelo Arden Quin, and they both joined the Grupo Madí in 1946. During the 1940s he produced a series of three-dimensional paintings with trimmed frames which he later began to expand vertically and gradually developed into monoliths, towers, and columns. In 1952, he created an installation for the Monumento al Prisionero Político Desconocido [Monument to the Unknown Political Prisoner] that was exhibited at the Tate Gallery in London. Blaszko currently lives and works in Buenos Aires. Perceptismo. Teórico y Polémico [Perceptism: Theoretical and Controversial] was the Perceptist group’s magazine. The nine issues that were published in Buenos Aires between October 1950 and July 1953 carried articles by Raúl Lozza, his brother Rembrandt van Dyck Lozza, and Abraham Haber. The final issue was subtitled, “A Tribute to an Attempt at Peace” but the group decided to withdraw it from circulation because of the risk of confiscation under the prevailing censorship during Juan Domingo Perón’s second term in office (1952-55).Raúl Lozza (1911-2008) was an Argentine artistwho was a member of the editorial board of Contrapunto magazine. He was a founding member of the Arte Concreto-Invención [Concrete Art and Invention] Association and, in 1947 he created Perceptism, a movement that published its own magazine. Later on, Lozza continued to work on a relational theory of color and on the concept of a color field. This text was chosen because it documents an exchange of opinions between a Madí artist and a Perceptist artist. As regards the new structure proposed by Lozza, additional information can be found in the following records: #730538; #730549; #730969; and #730956.