Martín Blaszko (1920–2011) was born in Berlin, Germany, and settled in Argentina in 1939. He met Carmelo Arden Quin in about 1945, and they both joined the Grupo Madí [Madí Group] in 1946. During the 1940s, Blaszko produced paintings with trimmed frames [shaped-canvas] and three-dimensional forms that later evolved vertically into monoliths, towers, and columns. In 1952 he created a project for the Monumento al Prisionero Político Desconocido [Monument to the Unknown Political Prisoner]. Martín Blaszko currently lives and works in Buenos Aires.
The Asociación Arte Nuevo [New Art Association] was supported and promoted by Carmelo Arden Quin (1913) and Aldo Pellegrini (1903-1973). The Boletín de la Asociación Arte Nuevo [The New Art Association Bulletin] was published six times between 1956 and 1958; the goal of this publication was to report on both the theoretical ideas and the actual production of nonfigurative artists.
This particular article has been chosen because it documents Blaszko’s opinion concerning the function of the angle in composition. His thoughts on this matter are relevant to his working procedures, since he was interested in both the bipolar nature of the structure of his work and the rhythm of the clash of opposing forces, as expressed in his submission to the contest for the Monumento al Prisionero Político Desconocido [Monument to the Unknown Political Prisoner], which was exhibited at the Tate Gallery in London and awarded a prize by the Institute of Contemporary Art in 1952.