Documents of Latin American and Latino Art

This document is an open letter in which Guillermo de Torre responds to Julio E. Payró, declaring his difference of opinion with respect to the application of the term “abstract.” This letter responds to the one written by Payró regarding the [...]

This is a text in which Córdova Iturburu explains the particularities of non-figurative art; especially regarding the problems aroused by the absence of a subject matter (religious, political, social, or natural). In addition, the article notes the [...]

The article highlights the importance assigned non-figurative art, not only at the Venice Biennial but also in the Salon de Realités Nouvelles in Paris, two exhibitions where Argentina was represented. In addition, it refers to the first non- [...]

The article includes two letters from Romualdo Brughetti and another from Enio Iommi, addressed to Blanca Stábile for its publication in the section “Dialogue with Our Readers.” In addition, a letter from Stábile addressed to Aldo Pellegrini, [...]

This article outlines the chronological evolution of Argentine concrete art and corrects certain inaccuracies in another of the author’s articles that was published in number 33/34 during the first period of Ver y Estimar [To See and Ponder] [...]

This article reports on the concept of abstract art outlined by Belgian painter Michel Seuphor in his book, L’art abstrait, ses origines, ses maîtres. [Abstract Art: Its Origins, Its Masters]. The volume had just been launched at the Galerie [...]

This article was written by the art critic, Blanca Stábile, to clarify the chronological data she included in an article entitled “Para una historia del arte concreto en la Argentina” [For a History of Concrete Art in Argentina]. The article [...]

In this document, Gregorio Vardanega discusses the importance of space in his work. He tried to address this question in a variety of ways, such as his plaster hemispheres, called complejos espaciales [spatial complexes] and his spiraling dots in [...]

A letter from Tomás Maldonado to Blanca Stabile, clearing up a few inaccuracies in the chronological record of the origins of the Argentine Concrete art groups and the Grupo de Artistas Modernos de la Argentina [Modern Artists of Argentina [...]

In response to the controversy generated over the question of abstract versus nonfigurative art, Raúl Lozza reminds the reader that he has long been of the opinion that the names are not the issue at stake. On this occasion, however, he refers to [...]

This article discusses the differences of opinion regarding abstract and nonfigurative art. It mentions that, although the members of Kosice’s group had originally identified themselves as nonfigurative artists because that seemed to express [...]

A letter from Enio Iommi to Blanca Stabile, to be published in the “Dialogue with our Readers” section, which explains that Aldo Pellegrini was responsible for the development of the Grupo de Artistas Modernos de la Argentina [Modern Artists of [...]

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, Martín Blaszko discusses the issue of angles in a composition and explains that, although Piet Mondrian used a 90-degree angle as his standard measure of control, it subsequently became necessary to do something else about the [...]

Juan Bay here identifies the periods during which he was producing Planar and Non-Figurative art. He explains that, after he settled in Argentina, he began working in the style of the Madí group in about 1952 [...]

In this text, the Argentine critic, Rafael Squirru, analyzes the exhibition, Grupo de Artistas Modernos de la Argentina. Pinturas, esculturas, dibujos [Modern Art Group of Argentina. Paintings, Sculptures, Drawings], held at the Galería Viau in June [...]

Using the Grupo de Artistas Modernos de la Argentina exhibition held at Galería Krayd in 1953 as a starting point, Jorge Romero Brest writes a critical text explaining his motives for supporting Concrete art. He proposes—in a prophetic tone—that [...]

This critical text analyzes the exhibit Grupo de Artistas Modernos de la Argentina. Paintings, sculpture, and drawings by the group were presented at Galería Viau in June 1952. Roger Pla raises objections regarding the proposals of the concrete [...]

In this article, Aldo Pellegrini recognizes a link between Surrealist art and Abstract art prone to expression. In this sense, he also considers it possible to establish this same relationship with the Concrete artist. Although the latter rises out [...]

This document is a critical text that analyzes the rise of the group Siete Pintores Abstractos [Seven Abstract Painters]. The group was formed in 1957 without any previous theoretical proposals. The text emphasizes that in this case, and in contrast [...]

This article reviewed the recent exhibitions held by the Grupo de Artistas Modernos de la Argentina [Modern Argentine Artists Group] at the Museu de Arte Moderna in Río de Janeiro and the Stedelijk Museum in Amsterdam. Both the international impact [...]

This is a critical essay that discusses Nuevas Realidades. Arte Abstracto, concreto, no figurativo [New Realities. Abstract, Concrete, Non-Figurative Art], the exhibition that was presented at the Galería Van Riel September 12-25, 1948. The [...]

In this critical article, Blanca Stábile reviews the works by Gyula Kosice that were exhibited at the Galería Bonino in September 1953. In her analysis of these particular works, Stábile not only places them within the parameters of Madí art, [...]

This is a critical text on the works exhibited at the Galería Viau by the Grupo Moderno de la Argentina [Modern Group of Argentina]. The art critic, Blanca Stábile, stresses the presentation and the lighting as part of the equilibrium between the [...]

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 [...]

This is a critical text on the works exhibited by Tomás Maldonado, Alfredo Hlito, and Enio Iommi at the Instituto de Arte Moderno in October 1950. In this analysis of some of the works in the exhibition, Blanca Stábile highlights the work of these [...]

This document relates the response of artist Gyula Kosice (1924-2016), to the survey regarding abstract or non-figurative art, in which he states that Madí adopted, in principle, the name "non-figurative" because it corresponded to the nature of [...]

This document relates the response of artist Mathias Goeritz to the survey regarding abstract, or non-figurative art, in which he indicates that he prefers “abstract art” as the general and popular term, although he agrees with the possibility [...]

This document relates the response of Spanish sculptor Ángel Ferrant to the survey with regard to abstract, or non-figurative art, in which he indicates that the word “abstract” is inappropriate when it does not acknowledge a visual model. [...]

This document relates the response of painter and sculptor Juan Del Prete to the survey regarding abstract or non-figurative art, in which he considers all such nomenclature conventional. In addition, Del Prete believes that this type of discussion [...]

[This document relates] the response of artist José Manuel Moraña to the survey sponsored by Letra y Línea [Letter and Line], in which he states that the fundamental to be considered in painting is the visual expressivity achieved through form, [...]

This document relates the response of artist Víctor Magariños “D”. to the survey sponsored by Letra y Línea [Letter and Line]. His opinion stresses that creation is the fundamental gist; he believes that if form and content are not the fruit [...]

In her response to the survey sponsored by Letra y Línea [Letter and Line], artist Lidy Prati stresses that modern painting is moving toward a new type of relationship that seeks to incorporate man into a concrete reality. In her opinion, modern [...]

This document relates the response of artist Ideal Sánchez to the survey sponsored by Letra y Línea [Letter and Line]. In his opinion, the principal consideration is the relationship between forms within the field of silent resonance. Expanding on [...]

This article relates José Antonio Fernández’s response to the survey sponsored by Letra y Línea [Letter and Line], in which he stresses his intention to create a new visual conception within the observer. In his opinion, painting as it was then [...]

Juan Cerdá Carretero responds to a survey sponsored by Letra y Línea [Letter and Line] in which he states his opinion that emotion expressed through color and form is the principal to be considered. At the same time, he believes that there are [...]

Kenneth Kemble writes about the exhibitions taking place in several galleries. By observing the works of five female artists, he is able to analyze the variables in Argentinean art at that moment. Based on a formal analysis of this production, he [...]

Noé presents the work of three artists exhibited at Galería Bonino, while at the same time discussing abstraction theoretically: its limits and relation to the problem of figuration as well to concrete art. Noé points to the work of Jorge de la [...]

Luis Felipe Noé makes a distinction between abstract and concrete art. He defines Abstraction as an expressive process that intellectually separates the elements of reality to reach its essence. Concrete art, on the other hand, fixes abstract [...]

Luis Felipe Noé writes that the non-figurative work of Juan Del Prete is sustained by his inquiry into the autonomy of medium, form and color, remaining beyond the limitations of concrete and abstract art. In another section of the text, Noé [...]

The article proposes the incorporation of new architectural vocabulary into urban planning and composition. In another section it calls for a design revision of housing from a mobile and spatial point of view, while criticizing all symbolism derived [...]

The Madí group expressed a desire to invent and construct objects in the very heart of a society that is capable of releasing energy and controlling both space and time. They also proposed that their ideas could be applied to all artistic [...]

In this article, Gyula Kosice stresses the displacement, the conversion, and the shift of forms inherent in the sculpture of the Madí. He also points out that the base has become an integral part of the sculpture, whether a rotating one as submitted [...]

This article stresses the importance of invention to Madí artists. Having broken free from the older forms of conception and composition, the Madí group worked with a dialectic theory that offered a new set of principles based on invention to [...]

This prologue introduces an exhibition of works by Manuel Espinosa and Tomás Maldonado, held at theSociedad Argentina de Artistas Plásticos [Argentine Society of Visual Artists], in September 1947. Bayley chronicles the development of both artists [...]

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 [...]

The Inventionist manifesto—published in the catalogue for the first exhibition of the Asociación de Arte Concreto — Invención [Concrete Art and Invention Association] (1946)—discards the illusory image of representative art and extols life, [...]

This text is a programmatic source that reports the active participation of the Concrete Invention at the core of a socialist construction of the world that would be based on the creation of new natural elements, both mechanical and technical [...]

Programmatic document by Raúl Lozza that establishes the structural grounds for Inventionist music, which is based on the succession of parallel sounds. At the same time, Lozza highlights the differences with respect to the “decadent” music [...]

This document declares certain principles adhered to by the Asociación Arte Concreto — Invención [Concrete Art and Invention Association]; especially with respect to Concrete art’s contribution to the revolution, as well as its solidarity with [...]