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In this introductory essay for the Abal, Beloso, Lozza exhibition, Aldo Pellegrini points out that Eugenio Abal uses both the rhythmic value of juxtaposed forms and the dynamic action of colors, relying on extremely subtle vibrations and the power of the void. Pellegrini also explains that Abal stakes out a position midway between the cold formal experiences of Concrete and Non-figurative artists in his quest for vital expression.
Aldo Pellegrini (1903-1973) was a poet, playwright, essayist, art critic, and a moving force in Argentine cultural circles. He was an early promoter of Surrealism, and directed several publishing projects. He was also an active supporter and promoter of the various expressions of Abstract act, and provided encouragement to groups such as Artistas Modernos de la Argentina [Modern Artists of Argentina] and the Asociación Arte Nuevo [The New Art Association]. Eugenio Abal (1896-1965) was an Argentine artist who worked in the field of Abstraction. He was a member of several groups of Abstract artists, such as Veinte pintores y escultores [Twenty Painters and Sculptors], the Agrupación de Artistas no Figurativos [Non-Figurative Artists Group], and Bermellón. Abal died in 1965, when he was at the peak of his production. The Abal, Beloso, Lozza -- Exposição comemorativa del IV centenário [Commemorative Exhibition of the 4th Centenary] was presented at the Museu de Arte Moderna [Modern Art Museum] of Rio de Janeiro, September 16- October 17, 1965. This introduction to the works of Eugenio Abal has been chosen because it reveals Pellegrini's critical opinions on the work of this artist whose production was based on formal elements of Concrete art, but who was also interested in the disintegration of forms.