The Contrapunto [Counterpoint] journal was a publication focused in literature, criticism, and art which appeared on a bimonthly basis and whose objective was to reflect the hidden nuances among extreme positions by deliberately adopting a certain heterogeneous quality in the selection of themes and authors. The editorial committee was composed by the writers Héctor René Lafleur (secretary), León Benarós, Arturo Cerretani, Sigfrido Radaeli, José Luis Lanuza, drawer Fernando Guibert, poet Alejandro Denis-Krause, and painter Raúl Lozza (writers). Also, Daniel Devoto, César Fernández Moreno, and Roger Plá were part of the writing staff, and Tristán Fernández was in charge of its administration. Its six editions circulated in Buenos Aires from December of 1944 until October of 1945. The survey “¿Adónde va la pintura?” [What Is the Future of Painting?] was answered by Antonio Berni, Tomás Maldonado, Jorge Larco, Juan del Prete, Norah Borges, Horacio Butler, Emilio Pettoruti, el propio Espinosa, Orlando Pierri, Francisco De Santo, Joaquín Torres García, Raúl Soldi, and Enrique Policastro.
Manuel Espinosa was an artist born in 1912 in Buenos Aires and died in 2006. He was a part of the Asociación de Arte Concreto-Invención and later carried out abstract work characterized by geometrical forms, serialized, and subtle interplays of color.
The Asociación de Arte Concreto-Invención [Concrete Art and Invention Association] was composed of Edgar Bayley, Antonio Caraduje, Simón Contreras, Manuel Espinosa, Alfredo Hlito, Enio Iommi, Obdulio Landi, Raúl Lozza, Tomás Maldonado, Alberto Molenberg, Primaldo Mónaco, Oscar Núñez, Lidy Prati, Jorge Souza, and Matilde Werbin, with Espinosa, Lozza, and Maldonado acting as secretaries. Later on, Juan Mele, Gregorio Vardanega, and Virgilio Villalba joined.
This document has been selected insofar as it clarifies his participation in the survey “¿Adónde va la pintura?” as well as in the discussions regarding the emergency of Concrete art in Argentina.