Documents of Latin American and Latino Art

The list of artists whose work was shown at the Arte Concreto-Invención Exhibition, held at the Sociedad Argentina de Artistas Plásticos [Argentine Society of Visual Artists], is as follows: Antonio Caraduje, Manuel Espinosa, Alfredo Hlito, Enio [...]

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 [...]

In this article, Blanca Stábile reviews the exhibitions of nonfigurative art at the Galería Van Riel. She reports that, other than the works produced by artists of the Madí or Vainstein trends, the bulk of the exhibitions are inspired by [...]

In “Crimen es ornamento” [Crime is Ornamental], the text of the exhibition catalogue of the homonymous show carried out in the Centro Cultural Parque España, Rosario (Argentina), between September 8 and October 2, 1994, Carlos Basualdo links the [...]

In Crimen es ornamento [Crime is Ornamental], the text of the exhibition catalogue of the homonymous show carried out in the Centro Cultural Parque España, Rosario (Argentina), between September 8 and October 2, 1994, Carlos Basualdo links the works [...]

This is a text that analyzes the passage from figuration to abstraction, considering both plastic and philosophical aspects, and aiming to reach the solutions contributed by Perceptivism. It states that Concrete painting became a reality after the [...]

Carlos Basualdo links the works gathered in this exhibition, The rational twist [(New York: Apex Art, February, 1996) with the “memory” of Argentinean Concrete art; almost nonexistent, as such, for economically developed countries, since, at the [...]

In this article, Abraham Haber examines the viewer’s relationship with Perceptivist art, indicating how it differs from representative painting. The author explains that this is an excerpt from the essay that will be published in the book titled El [...]

In this review, Abraham Haber discusses the connections created by Mondrian, Le Corbusier, Gorin, and Max Bill between painting and architecture, in order to show how they differed from the ideas that were proposed by Perceptivism [...]

In this review, Abraham Haber discusses the evolution of the work of Wassily Kandinsky, Paul Klee, and Piet Mondrian in order to establish, within those same parameters, its relationship to Concrete Art in Argentina and the proposals advanced by [...]