DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION from PICTURES to OBJECTS Monica Amor

Home , Concrete Art, Geometric abstraction

REVIEW ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021

DISPLACED BOUNDARIES: GEOMETRIC ABSTRACTION FROM PICTURES TO OBJECTS monica amor

suárez, osbel. cold america: geometric abstraction in latin america (1934–1973). exhibition presented by the Fundación Juan march, madrid, Feb 11–may 15, 2011. crispiani, alejandro. Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970]. buenos aires: universidad nacional de Quilmes, 2011.

The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some refl ection. The fi eld has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American

© 2014 ARTMargins and the Massachusetts Institute of Technology doi:10.1162/ARTM_a_00083 101 102 artmargins 3:2 this material to new audiences at an introductory level; it also suggests suggests it also level; introductory at audiences to new an material this of presenting function the to havefulfill tended exhibitions such which to extent to the speaks response concerted This Abstraction. Geometric of surveys contemporary of such relevance current the refuted ticipants or so par oneeleven of the every almost discussed, being was exhibits Europe, 1990s in produced the in Hélio Oiticica, and Lygia Clark artists at the Getty Research Institute, Research Getty at the occurred. they which in contexts economic, cultural and political, larger the with along question, in Abstraction of Geometric currents different the informed that projects contradictory the obscuring at times frames, historical art into canonical production artistic local to insert been has catalogs survey of such aim general The America. move tofrom Latin Europe that trajectories according to teleological history their narrate not, than more and, often for aspirations progressmodernity and local with movements artistic these tend to identify exhibitions of such catalogs etc.). The Art, Kinetic Venezuelan Neoconcretism, and Concretism Brazilian Art, Concrete references or regional (Argentinean national around mainly were presented organized and current, artistic this with associated objects or the Abstraction, Geometric American Latin notion of overarching the which in exhibitions of of a number survey 3 2 1 field. of the consolidation the in factor akey market have the made and material of apar aegis Abstraction Geometric public programs in 2017. in programs public and exhibitions of series a city-wide in culminate will that initiative an America), Latin Angeles/ (Los L.A./L.A. Time: Standard Pacific of phase first the of part as 2013, 23, July on Center Getty atthe place took art American/Latino Latin on workshop summer The catalog. exhibition 1992), Center, Art Walker Minneapolis: With; de Witte (Rotterdam: Oiticica Helio catalog; exhibition 1998), Beaux-Arts, des Palais du expositions des Société Brussels: 1998; Nationaux, Musées des Réunion Paris: 1998; Marseille, de Musées des contemporaines Galeries MAC, Marseille: 1998; Tàpies, Antoni Fundació Barcelona: 1998; Contemporânea, Arte de Museu Serralves, Fundação (Porto: Clark Lygia &Wirth. Hauser and Gagosian as such brokers, power major are galleries these of some that noting worth itis and proliferated, also have galleries commercial in work this of Exhibitions After the groundbreaking monographic catalogs of Neoconcrete monographic catalogs groundbreaking the After It is revealing that at a recent workshop of curators and historians at historians arecentand workshop that of curators It revealing is 2 the late 1990s and early 2000s witnessed the appearance appearance the witnessed late 1990s 2000s early the and 1 ticular collection, have lent greater visibility to this to this have lent visibility greater collection, ticular , in many instances produced under the the produced under instances many , in 3 where the topic of Latin American art art American topic where of the Latin

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded expository form. expository and pretenses panoramic their come has to re-evaluate time the that 5 4 American art as inherently “fantastic,” magical, or exotic. magical, “fantastic,” inherently as art American Latin 1990s, early to portray 1980s and the tendency,nant during domi the displaced has trend to the devoted iteration of exhibitions ing unceas the that to highlight context this in Moreover, crucial it seems topic. on the literature the in unanalyzed largely remains enon that and a phenom- field, of the study the consideration in important an also is collections of private number to alimited linked are catalogs (1934–1973) America in Latin Abstraction Geometric America: Cold entitled first, The Abstraction. Geometric American of Latin status current on the light politics. of postidentity era the in America of Latin be more aresuitable representatives could absent, of figuration traces all from which surfaces monochromatic the as well works, as of these many populate that orderly and configurations permutations forms, rectilinear and play of lines the though as appear it is, would That other. unfashionable of messiness the the clean wipe could Abstraction Geometric if America—as of Latin vision optimistic and modern, to promote afford could amore sanitized, Abstraction on Geometric emphasis subsequent the if as it seems Bycontrast, period. postwar of the practices more the experimental and of abstraction detriment the to art, on figurative exclusively almost focused proposals curatorial (Winter 1992): 60–68. 1992): (Winter 4 no. 51, Journal Art Art,” American Latin of Exhibitions U.S. in Identity Framing Fantastic: the “Beyond Ramírez’s Carmen Mari curator is topic this on text seminal The 2010). L’Amerique Latine, de Maison (Paris: Collection Cherqui Colette and Jean the from Art Contemporary American Latin Limits: Beyond Geometry and 2009); Press, Yale University CT: Haven, (New aConstruct on Building Arts: Fine of Museum the at Art Constructive Brazilian of Collection Leirner Adolpho The Ramírez, Carmen Mari 1998); Gráficas, Artes DBA Paulo: (São Leirner Adolpho Coleção Brasil: no construtiva Arte Amaral, A. Aracy 2007); Foundation, Art Fontanals Cisneros (Miami: Abstraction American Latin of Sites The Ledezma, Juan are collections private with associated Abstraction Geometric of catalogs exhibition important Other catalog. exhibition 2007), atAustin, Texas of University Art, of Museum Collection Cisneros de Phelps Patricia the from Art American Latin Hope: of Geometry The and catalog; exhibition 2001), Press, University Yale CT: Haven, (New Enríquez Schneider Mary and Pérez-Oramas, Luis Jiménez, Ariel Collection Cisneros de Phelps Patricia the from Art American Latin Abstraction: Geometric include catalogs comprehensive most Its here. list to many too are Cisneros de Phelps Patricia Colección the by produced Exhibitions Two recent publications—one bilingual and one in Spanish—shed oneSpanish—shed and in bilingual Two recent publications—one , is the catalog of an exhibition that took place at the Juan Juan took place at the that exhibition of an catalog the , is 4 The fact that so many of these exhibitions and and exhibitions of these so many that fact The , ed. Gabriel Pérez-Barreiro (Austin: Blanton Blanton (Austin: Pérez-Barreiro Gabriel , ed. Herkenhoff, Paulo Bois, Yve-Alain , ed. 5 Such earlier earlier Such - - 103

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 104 artmargins 3:2 by concluding with an episode dedicated to Cuba that occupies almost almost occupies to Cuba that dedicated episode an with concluding by expectations to thwart Soto, Jesús only if artist kinetic Venezuelan with Torres Joaquín ends and García with starts one that trajectory, familiar a proposes it initially Indeed, narratives. it moves away from familiar yet geographically, and chronologically organized is Suárez, Osbel critic itself. measured exhibition the in included art the which against criteria the constitute qualities such that implies America Cold title The aspired. they to which and some cultivated, in ways Abstraction Geometric and Concretism, of Constructivism, branches various the that qualities were precision all and objectivity, Rationalism, meantto restore aworld orderin measurement of and chaos. art an it was war; the after RenéGallery work Denise by advocated derived Constructivist- and 1950s the Hard-Edge to refer to the during Paris in coined was abstraction cold term the Indeed, thrived. Constructivism of forms various and art, Concrete Neo-plasticism, which in tries coun- European of modes those cultural and sensible social to the America’s closeness we celebrate is, Latin that North; the is North for decade, now last our over the accrued has Abstraction Geometric American Latin success that institutional of the symptomatic is 7 6 to 11 May 2011. 15, from February Madrid in Foundation March North is the South,” to its original position. South,” original to its the is North “our that proclamation famous his as map,García’s well as inverted froid and chaud abstraction debates about Parisian the as (as well societies Protestant northern of efficiency and behavior cerebral cold-minded (arguably) the and cold the temperatures with avoid one associating cannot which catalog, and exhibition of the title The (1934–73). period from the uments doc achronology, abibliography, of translated trations, aselection and illus areas, geographical different from experts by essays reader finds the publication, this In Venezuela. and Brazil, Argentina, Uruguay, to addition in from Cuba, Colombia, Mexico, and material includes it above, mentioned although catalogs the as format regional-survey same It follows the collection. to aprivate connected notfew directly one topic, and of on the the catalog longest the is America Cold pages, 1 (May 1936). 1 (May no. (Montevideo), yCuadrado Círculo García, Torres Joaquín catalog. exhibition 2011), March, Juan Fundación (Madrid: (1934–1973) America Latin in Abstraction Geometric America: Cold Suárez, Osbel The introductory text by the curator of the exhibition, the Cuban Cuban the exhibition, of the curator the by text introductory The ), reverts Uruguayan artist Joaquín Torres Joaquín artist Uruguayan ), reverts 7 One wonders if this this wonders One if 6 At 504

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded Ellsworth Kelly. He very precisely indicates the specific connections connections specific the indicates precisely Kelly. He very Ellsworth of canvases shaped the and frames cutout these between tionship reader to arela the alerts author also mid-1940s.The the in of age ing com Argentines work Concrete of the the and older artist the between one interesting most the indeed is association This reliefs. wood Torres and frames cutout García’s Rothfuss’s between possible links essay suggests His research. meticulous proposition through radical of this trajectory conceptual and genealogy the maps show, carefully the in included artist an work. Paternosto, element of the a constitutive space real made that paintings on, relief-like later and, canvases shaped favor in of irregularly formats rectangular bypassed that propositions of pictorial aseries was result The presupposed. historically frames orthogonal that painting of naturalistic effect window the sionism and illu to pictorial opposition in conceived frame cutout of the Rothfuss on artists. subsequent impact and genesis its as 1940s, well as the in signified frame cutout the that gesture pioneering the here with cerned con mostly is (cutout Paternosto frames). recortado marco oftion the proposi Rothfuss’s Rhod artist of Uruguayan-Argentine reading close essays. individual catalog’s the in attention careful more Venezuela—receive and Brazil, countries—Argentina, Other alone. level introductory at the treated is material sincethe island, Caribbean the on episode artistic this of significance cultural the However, not essaycompletely does the address telling. doubt worth no is author, forged to the individuals, afew according was only by Cuba, which, in Abstraction emergence of of the Geometric history The of Havana. “concrete the brevity” author calls to what the devoted are introduction of the (out four last of sections nine) the that given especially arbitrary, and diffusive is result but the territory, familiar on less to shedlight effort the appreciates One Caracas. in University Villanueva’sCity Raúl Carlos São onde Janeiroand and architect Paulo of Rio cities the in poetry on Concrete instead focusing by Venezuela, in art Abstract Geometric and Brazil in arts visual Neoconcretist and Concretist regarding of origin tales well-known bypasses Suárez catalogs, exhibition in narrative introductory become apredictable what has But Cuba. in order and Venezuela, in to avoid repetition, Brazil, Argentina, in tendencies Concrete/Constructivist and Abstract Geometric fostered that publications and exhibitions, events, tions, proposi of the summary afair is essay. text The opening of the half Cold America to Cold contributor another Paternosto, César , provides a , provides ------105

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 106 artmargins 3:2 spatial poems, also called object-poems called also poems, spatial and (bookpoems experiments role poetic the of his emphasizes Gullar period. of the art accomplishments of on author’s the the the views movements) rehearses Brazilian commentator on famous most these 1959 1961, and the between and for spokesperson Neoconcretism (the Gullar Ferreira poet and critic legendary the by Neoconcretism and recapping a chronology introduced in his 2007 essay “Caracas: A essay “Caracas: 2007 his in introduced achronology recapping Abstraction, Geometric of Venezuelan phases different the elucidates He discussion. under work artists of the the inform that motivations and dynamics local on the to focus him allows concept that place”—a as “place,” constitute or “place modern,” “modernity oftices the the prac artistic new these idea that to the over over again and returns and developments artistic these in embedded for desire modernity regional He the maps of form. its implications anthropological and political the occludes that myth auniversalist sustains Abstraction Geometric past, the in as present, the in that and forcebolic countries, afew only in sym and acquired flourished tendencies these reader that his warns more broadly. author The Abstraction Geometric American of Latin phenomenon the ponders who also Pérez-Oramas, Luis by introduced artists. and poets between logue 8 representation. and politics of cultural to questions originality and of form from questions attention our redirects Abstraction Geometric of determinations institutional on the her focus and impeccable, is García’s research period. the hegemony regional during cultural guide to came were conceptsthat new internationalism” and “abstraction writes, García of 1953. As ment second at São the Biennial Paulo move this supported that scaffolding institutional to the attends García Abstraction, Geometric American Latin within analysis conceptual and on formal who focus contributors to other contrast In of research. piece 1940s 1950s and exemplary the an is during Brazil and Argentina frame. cutout the who practiced Argentines the and artist American the between Paris postwar in occurred that encounters and (Buenos Aires: Siglo XXI Editores, 2011). Editores, XXI Siglo Aires: (Buenos yBrasil Argentina entre culturales Intercambios abstracto: arte El García, Amalia María see subject, this of treatment For athorough A short and previously published essay on Brazilian Concretism Concretism essay on Brazilian published previously and A short A much longer and in-depth analysis of the Venezuelan case is is case Venezuelan of the analysis in-depth longerand A much María Amalia García’s essay on the cultural exchanges between between exchanges García’s cultural essay on the Amalia María ) and the importance of the dia of the importance the ) and 8 - -

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 11 11 10 Constructive Stage.” Constructive 9 optical mirages,” Pérez-Oramas posits them as “ideal visions” “ideal as them posits Pérez-Oramas mirages,” optical produce that “machines as artists work of the these Understanding illusionism.” of logic classical humanistic “the inscribed sees Oramas Pérez- effects, visual and to dematerialization drive artists’ these In work Cruz-Diez. of the Carlos Soto Jesús and in embodied as Art), (Kinetic account Cinetismo of Venezuelan critical anuanced through Art of Kinetic radicality the to relativize is America to Cold contribution (1937); and one by Swiss artist Richard Paul Paul Richard (1937); one artist and Swiss by Fonction-composition Vantongerloo, Georges III (1949); artist onecromáticos Belgian by (1947) Ritmos and cromáticos Hlito, Ritmos Alfredo artist tine Argen- works the by two in form and context between relationship the ponders Pérez-Barreiro Concretism. Argentine is expertise field of forms. of abstract politics about the questions fundamental passing, in aspired—posing, Cinetismo which to dematerialization and transparency to the contradictions social economic, and political, with aVenezuela fraught in modernity ished unblem of this chimera the to link is Ultimately, aim Pérez-Oramas’s associated. is modernity which with efficiency utmost of that of art work the in realization idealized the reality: and modernity Venezuelan between congruence phantasmatic refers to the turn in This rhythms. abstract and vibrations plane’s optical picture the through dress the works ad- that universe symbolic techno-scientific the through invoked butrather represented, not scene is figuratively scene. This ideal of an support the of Soto’splane works remains Cruz-Diez’s and picture vibrating the modalities, formal unconventional spite ofin their words, other In painting. academic by cherished illusionism lent to the Cold America Cold Suárez, in 1950–1973,” Scene Constructive Venezuelan the on “Notes Pérez-Oramas, Luis 2004). Press, Yale University CT: Haven, America Latin in Avant-Garde Utopias: Abstraction Geometric al., et Bois in lugar,” al paisaje Del Cisneros: Colección “La 2001; 3, March University, Harvard Museum, Fogg atthe presented paper unpublished absoluta,” absorción la de paradojas Las Minimalista: escena yla Penetrable del poética “La 253–77; 1998), Polar, Fundación (Caracas: visuales ensayos yotros Park Jurassic de Cocina La in lanas,” venezo visuals artes las en ornato del hipoteca “La Pérez-Oramas, Luis example, for See, Hope of Geometry Pérez-Barreiro, in Stage,” AConstructive “Caracas: Pérez-Oramas, Luis The final essay in the catalog is by Gabriel Pérez-Barreiro, whose by is Pérez-Barreiro, Gabriel catalog the in essay final The . 9 , 59. Inverted Inverted in Cinetismo,” of Context Analytic the and “Gego ; and In the end, the main objective of Pérez-Oramas’s of Pérez-Oramas’s objective main the end, the In , ed. Mari Carmen Ramirez and Hector Olea (New (New Olea Hector and Ramirez Carmen Mari , ed. 11 equiva 10

- - - 107

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 108 artmargins 3:2 Mondrian’s work in the flesh, pursue seamless surfaces just as Hlito Hlito as just surfaces seamless pursue Mondrian’s flesh, work the in seen Vantongerloo, and Lohse would who actually had Pérez-Barreiro, flat color. and even But why, through asks paintings his to construct Hlito led photographicreproduction, of poor result the havemay been which of misperception, color. planes of made smooth instead This was and essay, texture Rothfuss’s painterly lacked illustrates which painting, Mondrian unidentified an Hlito’s that perception misplaced to Alfredo points Pérez-Barreiro of context. instead (mis)interpretation of issues to highlight 1944, in magazine Arturo seminal the in lished pub Art,” aProblemContemporary Frame, in essay “The important composition? favored structured Hlito did), while color they indeed (if privilege Europeans the did Why contexts? social Lohse’s Hlito’s and different to their works related between differences How, account. his in formal words, the are other in vague content and form remains between rapport but the context, and about meaning questions important not follow. raises Pérez-Barreiro does of form analysis acorresponding precise, works is emerged these which in contexts author’sthe Argentine and Swiss account of the while Indeed, morehave Pérez-Barreiro’s made convincing. argument force. of works might Abroader more sampling argumentative requires 12 12 artists, Concrete Argentine of the discourse cized more the politi with organization Hlito’sauthor to associate pictorial leadsthe which of observation, Hlito’scompositionality This works. more the structured Iwith Lohse’s foundin Konkretion variation matic chro in interest the contrasts he thus differences; formal into translate differences contextual these to Pérez-Barreiro, According Europe. and Argentina in Concretism between differences ideological and contextual of the for adiscussion aspringboard as works function The analyzed. formally never Vantongerloo, and of Lohse actually those are to similar strikingly are Hlito, which by paintings two Butduced. the works were pro the which in contexts political and milieus artistic different the analyzing and presenting also works while of these larities simi I(1945–46). stylistic the author addresses The Konkretion Lohse, Invención Concreto Arte materialista,” estética una para Hlito,“Notas Alfredo See Party. Communist Argentine the of members became also AACI the of member several Marx, Karl of ings writ early the by Influenced aesthetic.” a“materialist called Hlito what embraced 1946 in which (AACI), Invención Concreto Arte de Asociación the of amember was Hlito Alfredo Pérez-Barreiro ends his essay with a summary of Rhod Rothfuss’s Rothfuss’s of Rhod asummary essay with his ends Pérez-Barreiro , no. 1 (August 1946): 12. 1(August , no. 12 is suggestive, but it suggestive, is - - - -

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 14 14 The Sites of Latin American Abstraction American Latin of Sites The tion exhibi 2007 of the catalog to the not allude introduction its Why does America? Latin postwar in emerged that trends Abstract Geometric various the and for material unaccounted this between relationship the Cueto’s or Matiz’s of texts. any its works, in or of Abstraction, or Colombian Geometric Mexican of either cussions dis no are substantive Matiz), there photographs Leo by includes only to Colombia (which Cueto) asection and work of the Germán includes only (which to Mexico asection devotes catalog the although that fact of the view in especially arbitrary, Venezuela—feels and Brazil, Argentina, Uruguay, with dealt have mostly that of catalogs aseries in first text—a Moreover, introductory of his Cuba Suárez’s in discussion field. growing that within position own its as well topic, as on this history exhibition significant the tackled that consistent introduction from a more have benefited would book the Abstraction, Geometric of survey for aregional catalog However, exhibition the as analyses. political and as formal as well theories, and events, works, of specific explorations more provide detailed instead and Venezuela, and Brazil, Argentina, in Art Kinetic and of accounts Concretism introductory who avoid Pérez-Barreiro, and Pérez-Oramas, García, by essays focused pretation, “the prism of what one wants to see.” of what one wants prism “the pretation, of inter subjectivity the essay,of his author concludes stressing by the beginning the guided that question contextual the Relinquishing did? 13 13 aspires to supersede these two previous previous two these to supersede aspires War II.America Clearly, Cold World after Paris in Abstraction about Geometric achapter includes Hope of Geometry The catalog, of another structure the echoes old continent the in artists abstract geometric American Latin tured or fea concerned that activities other and journals European on the of asection incorporation This Europe. of postwar life cultural the in exhibition the in included artists of several participation the addresses “Europe,” which entitled section of the discussion any lacks larly simi photography? introduction included The also and Ledezma Juan Foundation, 2007), exhibition catalog. exhibition 2007), Foundation, Art Fontanals Cisneros (Miami: Abstraction American Latin of Sites The Ledezma, Juan Cold America Cold Suárez, in Abstraction,” Geometric in Dialogue Transatlantic The Reinvention: and “Invention Pérez-Barreiro, Gabriel catalog, then, begs certain questions: What is Whatis questions: certain begs then, catalog, America Cold The and thethematic frommore benefits certainly America Cold , 75. , 14 which was curated by by curated was which 13 , which , which - - - - - 109

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 110 artmargins 3:2 15 INDUSTRY.” AND now OF BY EXPERIMENT MEANS until notwhat exist did WORLD THE to INTRODUCE “means INTO invent,” asserted, Hlito “To consciousness. of practical afunction it was to alienation; and discovery to in fortuitous opposition defined was invention members, one Hlito, who of was AACI’s prose of Alfredo nology. militant the In tech and art acorrespondence between through aesthetics transform to desire voice to give to their invention term the used AACI the and Arturo with associated on artists how the focuses year. Crispiani ing follow the dissolved that alliance ashort forming AACI), Association; Invención Invention (Concrete Concreto Art de Arte Asociación the group became politicized 1946 In this Party. Communist Argentine the in membership artists’ several by corroborated was which Marxism, and Invencionismo between alliance the importantly, most to Torres and, García; artists of these relationship the others; among Kosice, Gyula and Rothfuss, Rhod Ardén-Quin, Carmelo Prati, Lidy Vicente Huidobro’spoet on influence Bayley, Maldonado,Edgar Tomás of Chilean discussion adetailed provides also Crispiani section this In Concretism. avant-garde’s to European response unique Argentine the Invencionismo of coining the and of 1944 summer the in Arturo magazine of the publication one-time the Argentina: in Art on Concrete publications design. industrial and architecture in (Concrete-Invention) of Concreto-Invención cations ramifi on the focuses Crispiani to havedo. tended Instead, Argentina in art Abstract Geometric and Concrete postwar with dealing cations publi most as offshoots, its and Concretism concentrate on Argentine 1940–1970 Chile, and Argentina Art, Concrete-Invention ( 1940–1970 y Chile, Argentina concreto-invención, arte del Trayectorias mundo: el transformar para Objetos Crispiani’s Alejandro historian and architect Argentine section. Documents the or essays in critical the in either of photography, medium the as well as Europe, Colombia, and Mexico, of inclusions curators’ the However, to substantiate itcatalogs. fails Invención Concreto Arte de Asociación la de Boletín einvención,” “Representación Hlito, Alfredo The first part of the book charts material well-rehearsed in recent well-rehearsed material charts book the of part first The , no. 2 (December 1946): 7 (original capitalization). 1946): 7(original 2 (December , no. 15 , a term proposed by Edgar Bayley in 1945 that defined 1945 defined Bayley in that Edgar by proposed , aterm Objects to Transform the World: Trajectories of of Trajectories World: Transform the to Objects ; 2011) not does

- - - - Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded some important events. For instance, two members of the AACI of members the two For events. instance, some important on predicated is traces Crispiani that design industrial and tecture archi of fields the and Concreto-Invención with associated actors and proposals the between liaison The (1970–73). government Socialist Allende’s Salvador short-lived during Bonsiepe Gui designer industrial German the by led Group) Chile, (Design in de Diseño Grupo the and Germany; Ulm, in Gestaltung für Hochschule the involvement with Tomás of Chile; Valparaiso; EAV) Maldonado’s in of Architecture (School de Valparaíso de Arquitectura Escuela on the focus studies case His design. industrial and architecture, art, between relationship the since one of the most distinctive traits of Concreto-Invención was its its was of Concreto-Invención traits distinctive since onemost of the regard, this in key is AACI of members the of the experiments formal the informed that literature Marxist of the exploration His he studies. objects and artifacts of the constitution ideological the to understand us allows book, the in use references), masterful he makes ofretical which theo and publications, art articles, artists’ (manifestos, sources textual of analysis the only that argues Crispiani introduction, the in Thus, designers. and architects, artists, to these central was that relation a politics, and form between relation elusive of aware the is Crispiani adhered. Bonsiepe and AACI of the artists the both to which Marxism the by informed practice of arevolutionary service the put in to be were objects, functional and objects art for Both, intended use. those for intended contemplation, those and of objects: categories two ing rethink by design and art between arapport establish helps him which object. art ofsis the cri ontological the corresponding and signifier pictorial of the analysis consequences of Concreto-Invención’s radical careful the pursuing in and pedagogy, design and of architecture realms the placements into of Girola’stories Maldonado’s professional and and dis geographical trajec the following in is contribution book’s greatest The Gestaltung. EAV, at the reforms für Hochschule Maldonado to lead and the groundwork for Girola to lay the important Claudio Buenos Aires: 16 16 Communism. to acommitment involved Art Concrete of interpretation Argentines’ the iteration, Parisian its mainly Concretism, European by influenced Heavily Bayley. Edgar brother his and Tomás Maldonado artist by 1946 in spearheaded was AACI the of Formation The second and third parts of Crisipani’s book are dedicated to dedicated are of book Crisipani’s parts second third and The As the title indicates, the “object” is central to Crispiani’s book, book, to Crispiani’s central is “object” the indicates, title the As 16 left left ------111

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 112 artmargins 3:2 19 18 17 illusion. of an container the like frame/formatfunctioned the that suggested which plane, picture frame/formatof the orthogonal on the AACI’s the attack analyzes accomplished, meantto be Crispiani was goal how this understand To objects. revolutionary into objects art profound to transform desire elements that characterized Theo van Doesburg’s Concrete Art. Doesburg’s Concrete van Theo characterized that elements for concrete call the literalizing such, as but representation sentation, repre not pictorial only to dismantle foundit imperative Invencionistas Argentine the of naturalism, rejection and self-referentiality Art’s at the time. at the unfolding events political actual not the address does 1940s), Crispiani mid the in Party Communist Argentine the with affiliated those only V. to mention R. Iommi, Enio and SimónLozza, Contreras, D. Lozza, Prior, Raúl Girola, Aldo Hlito, Claudio Alfredo Espinoza, Manuel Bayley, movement (Edgar Tomás members of its the and Maldonado, politics of accounts the However, to date. other like exhaustive most the painting. illusionistic of traditional, status of the tioning ques anecessary and favored process, change, supports, shaped ularly favor in of plane irreg orthogonal the rejected works that in themselves manifested which of representation, rejection the and referentiality Editores, 2011). Editores, Veintiuno Siglo Aires: (Buenos yBrasil Argentina entre culturales Intercambios abstracto: XX siglo del ylatinoamericano argentino Arte in abstracción,” yla realismo el entre cruzado fuego el “En Rossi, Cristina María 17–54; 2004), Espigas, Fundación Aires: (Buenos interrelaciones Sus XX: siglo del latinoamericano y argentino Arte in 1949–1953,” Argentina, artística escena yla paulista cultural nalismo internacio el entre Interconecciones abstracto: arte del construcción “La García, Amalia María 118–28; 2003–4): 4(Summer no. Aires), (Buenos memoria la de Políticas 1948,” en trocó se creador júbilo el cómo “De Lucena, Daniela and Longoni Ana 45–83; 2001), Paidós, Aires: (Buenos sesenta años los en Argentino Arte ypolítica: internacionalismo Vanguardia, in Peronismo,” del márgenes los en moderno arte “El Giunta, Andrea controllable.” “visually be to was construction its and elements, plastic its of combination the in reside to was awork of meaning The Art. Concrete European of cornerstones the of one was referentiality self- work’s the for Aquest execution. its before mind the by conceived entirely art auniversal for need the emphasized Doesburg van There, 1930. April in appeared Concret Art of issue only the in published were movement the of principles The structure. overall the of part be to wall the allowing wall, the on ated situ fragments several by constituted was panels, wood usually support, whose and ters perime irregular had also that works (coplanals), coplanares so-called into developed later canvases” “shaped These above. discussed essays the in Pérez-Barreiro and Paternosto occupy that frames) (cutout recortados marcos so-called the were resulted that objects The is is of Invencionismo scaffolding Marxist of the analysis Crispiani’s desfachatez: El pasaje de Maldonado y los concretos por el Partido Comunista, 1945– Comunista, Partido el por concretos ylos Maldonado de pasaje El desfachatez: 19 Instead, he closely follows the alliances pledged by the the by pledged alliances follows the he closely Instead, 17 Pushing beyond the limits of Concrete of Concrete limits beyond the Pushing El arte arte El García, Amalia María , 85–125; 18 , which , which Self- - - -

- - - Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 21 21 Domingo Perón as president in the elections of February 1946. of February Perón elections president the as Domingo in Colonel Juan elected had that class working from the dissociated become had which rhetoric, Party Communist Argentine porary nents of the EAV’s activities. An engagement with experimental poetry poetry experimental with engagement An EAV’s ofnents the activities. compo were important poetry and art Indeed, poetry. and art abstract and architecture modern progressive in most developments the by 1952 informed in was of Architecture Institute of the creation the of EAV, formation Girola on the artist where the and Iommi Godofredo poet of the impact the mapping by starts above. Crispiani discussed material the with associated been have never that of practices series on a focusing author to Chile, the takes investigation This mid-40s. the in experiments artistic radical of their demise the after pursued AACI some of members the that sculpture and to painting alternatives group’s of context. the politics local the and AACI of the politics the between relationship the thus is Crispiani, by unanswered remains one and that Art, Concrete Argentine on literature for question ofthe Peronismo. base roots Alooming “common the grass man,” now alienated had the Party Communist Argentine the that see become arepressive nor they state, could Joseph Union, Stalin’s under had Soviet regime, the that notcould see they vision: compromised their onfounded adoublethat spot blind was agenda AACI’s words, the other In political masses. working try’s Perón coun the and between association troubling the to acknowledge, or to address, even incapacity its signaled that agenda sive, antifascist progres internationalist, an was thought adopted what they thus AACI rialist plans to resuscitate fascism.” to resuscitate plans rialist stop impe and peace to preserve efforts its Union—in Soviet ally—the great their world of with people the and the all with solidarity in are world artists Concrete nor problems common before of man. the the everyday before the movement indifferent of our do not remain artists “The reads: editorial whose magazine, their issue of first the in AACI 20 20 1946, he was elected, remaining in power until 1955. until power in remaining elected, was he 1946, 24, February on and workers; of mobilization amassive by president interim as stated rein was 17, he October on later, days afew but 1945; 10, October on parties of coalition a by power from removed was colonel The mind. sharpest its as Perón had that ment govern military-led a installed Group) Work (Unification Unificación de Obra Grupo ian authoritar and nationalist the by organized d’état acoup 1943, 4, June On on. early from artists, and intellectuals left including many, by fascist deemed was apopulist, Perón, Arte Concreto Invención Concreto Arte militancia,” “Nuestra The second and third parts of Crispiani’s book investigate the the investigate book of Crispiani’s parts second third and The 20 This statement echoes contem echoes statement This , no. 1 (August 1946): 2. 1(August , no. 21 The The - ------113

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 114 artmargins 3:2 onal frame and the increasing incorporation of real space into the space ofthe into real incorporation increasing the and frame onal orthog of the arejection through modes pictorial of traditional demise to the led experiments 1940s. These of the come experiments for the out consistent, possible,conceptually only and the artist, Argentine the more to was, broadly design industrial with and of Design Ulm School of figure Maldonado. Tomás Maldonado’sthe the involvementwith through to Chile back from Germany AACI of the trajectory follows the sel (and not him amember AACI of members the of two uncle the was EAV. of the however, Iommi should, One remember that characteristic became that and Amereida punctuate that acts” “poetic the and frame” the “beyond experiments Invencionistas’ the between to establish wants Crispiani that continuity the considering especially fascinating, equally are practices these by embodied of dematerialization aesthetics latent audience. The art not an presuppose did they that fact the by as Techo (El Ballena)— de la Caracas (Situationism), and Paris penings), York New as such (Kaprow’s capitals hap major in cultural parallels had clearly practices—which performative and poetic of these nature experimental the by struck reader as is The interventions. cartographic as well as documents, historical accounts, personal prose, narrative, poetic verse, between alternating genres, and styles combines different it such, As of acollage. quality the has Amereida themselves, acts poetic Iommi’s Not unlike continent. American for the text foundational a as work to serve was Iommi’s under resulting leadership. The Bolivia, to Tarija, Chile, Arenas, from Punta of a1965 product trip the and Amereida is example key One EAV. of the context the took place within that architecture) and poetry center. city outside the travels and displacement involved physical which acts, poetic such several he realized Paris, in based 1963, was when Iommi 1958 and between that indicates Crispiani dérives. Situationist the and works, “exquisite corpse” Voltaire, Surrealists’ Cabaret the of the events Dada the Iommi’s echoes meanings,” and “a of sounds practice collage as Crispiani by Defined created. collectively and were oral acts poetic these common At times, and sense. it narrative from conventional dislocated that situation apublic in of apoem recitation of the sisted con prompted Iommi’s by acts,” to which have been seems “poetic f ) and that his ties to the AACI were tenuous. AACI to the ties his that ) and Objetos para transformar el mundo el para transformar of Objetos section last the In (related to of practices anumber investigates further Crispiani —part poem and part art performance, performance, art part and poem —part , Crispiani , Crispiani - - -

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded mainstream practice aligned with industrial capitalism, his student student his capitalism, industrial with aligned practice mainstream pursued. sionals Ulm profes technique” “mature to the corresponded order” that social There, by 1956, by There, Bill’s notion of “good form” from 1951 to 1957, Maldonado directed at tenure Ulm. towhich his Vision Nueva journal design and architecture, art, from the jectory tra intellectual his traces Crispiani semiotics, and media, mass cation, Maldonado’s with (1953) interest communi early human in Beginning of Maldonado. it from that differentiating credo, ofsis Bill’s aesthetic analy acareful provides Crispiani at 1954. UlmMaldonado in to teach who invited of Maldonado’s artist Swiss the work, sinceit and was life second chapter role this in important playedan known, well is as Bill, Max AACI. the with associated artists works produced the by relief-like 23 22 more real and scientific bases.” more scientific and real on founded time this objects, rational by of a“worldgoal populated from the school the not deter did this He concludes that production. of logic mass the within Ulm School, at the sphere operated, technical and social the toward away from art turn this that observes ceptively per Crispiani designer. of the formation for the irrelevant deemed and now suppressed was Meyer’s art Hannes Bauhaus, with happened had work. As for interdisciplinary capacity the and knowledge of specialized acquisition the toward geared design of industrial amodel form” with Maldonado replaced Bill’s “good practices. ogy, social and science, on technol focus anew by displaced practical—was and beautiful ously simultane as consumption of mass of objects production the shape Objetos para transformar el mundo el transformar para Objetos Crispiani, 1955), 119. Vision, Nueva Editorial Aires: (Buenos Bill Max Tomás Maldonado, in unison’”; harmonious in functions all of ‘sum the as defined be also may Beauty as well as Art that is conclusion obvious the =Beauty,’ Art = ‘Form since and unison,’ harmonious in functions all of sum ‘the means form “Since wrote: he which in Beauty,” Function, “Form, essay Bill’s also See 72. 1998): (Summer Issues Design Retrospect,” in Gestaltung für Hochschule Ulm The Society: and Semiotics “Science, Betts, Paul in cited as 29–32, 1953), Books, Elek (London: Shand Yearbook Architects in Ulm,” to Weimar from Ideas Bauhaus “The Bill, Max See goods. cultural into goods consumer transform would that one humanism, anew called he what for He argued practical. and beautiful atonce itwas because goodness—“good” to exposed be would audiences form” “good through that arguing art, and industry of integration the about concerns Bauhaus of dimension moral the emphasized Bill consumption. mass for objects beautiful and functional of production and development the with concerned is form” “Good 1949. in Werkbund Swiss the by sponsored and Bill by organized exhibition atraveling of title the from derives term The Crispiani argues that whereas Maldonado ultimately developed a developed whereas Maldonado ultimately that argues Crispiani 23 The latter would facilitate a “mature a“mature facilitate would latter The , 373. 22 —a concept that was to was concept that —a 5, ed. Morton Morton ed. 5, , vol. , no. 2 , no. , ------115

amor | displaced boundaries Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded 116 artmargins 3:2 cate the information and his arguments more directly. He could also He also could more directly. arguments his and information the cate to communi movements authors studied and of the interpretation and texts. with objects as well as tives, perspec international and local weave together that micronarratives through analyzed cleverly are whose ramifications politics and art in sis acri maps mundo el para transformar Objetos boundaries, disciplinary Disregarding change. social effect significantly would it, with engaged or fully government local to the blind were either which or Socialism, to Marxism committed objects nor functional devices aesthetic neither yet, And market. the by imposed production and of logic circulation the resist would that culture material and apedagogy men,”as and well as things generate between a“new relation would that to practices develop and asMaldonado, Bonsiepe Girola, attempted Iommi, such figures key shows that mundo el para transformar Objetos Chile. and Argentina in relevance” historical and “political art’s for aspirations unfulfilled the and design, and architecture, art, through reality to affect desire pian 24 24 to mirages.” do not appeal and illusions don’t concrete: they are carry they that objects say of these could “we of Bonsiepe: agenda design to the Argentines of the objects Art Concrete the ties purportedly ofthat representation rejection on emphasis this an with narrative his closes effectively author then not arepresentation.” revolution act, The an is “the questions, never he which state, Chilean of the ideology the and Bonsiepe’s thinking summarizes Crispiani As secondary. was object of the form visual The planning. and on necessity based thus and market, of the whims to the opposed rational: to be was object the that proposed object the of life of the other. Bonsiepe’s onunderstanding the holistic ernment, of Allende’s gov agenda Socialist the and one onhand, the design, trial economic and roles of indus social on Bonsiepe’s the focus between affinity the underline he does book of the section last this in mid-40s, the in AACI the surrounded of Peronismo context that political diate imme the omits Crispiani While Allende’s Salvador Chile. capitalism, of advanced peripheries at the located geographically society socialist of a construction the in role out the of set to test design Bonsiepe Gui Ibid, 409. Ibid, Crispiani’s book could have better balanced the historical writing writing historical the balanced have better could book Crispiani’s uto of the discussion his is book of Crispiani’s aspect salient The 24 - - - -

- -

- Downloaded from http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf by guest on 30 September 2021 September 30 on guest by http://direct.mit.edu/artm/article-pdf/3/2/101/720214/artm_r_00083.pdf from Downloaded light on these complex episodes of our globalized modernity. globalized of complex our onepisodes these light shednew might media, and practices more less canonical and between regions,and and artists between interrelations of the studies focused More Abstraction. Geometric American Latin of critique reflexive andself- analytical, begs for a field more ofrent the nuanced, state cur The model. regional-survey the through than rather thematically material the to engage were willing editors and curators their if well, art. Abstract Geometric American of Latin histories produced template anew has for postwar Crispiani Germany, and to Chile from Argentina boundaries geographical crossing by and design, and of architecture realms the into and sculpture and of painting boundaries outside the Bymoving trajectories. alternative exploring by Argentina in Art on Concrete literature historical and cal criti the to advance managed undoubtedly he has shortcomings, such Despite studies. book the that practices for the background as served that contexts political various the regarding morehave reflexive been Something similar might be achieved by exhibition catalogs, as as catalogs, exhibition by achieved be might similar Something - - 117