Carmelo Arden Quin, Rhod Rothfuss, Gyula Kosice, Edgar Bayley; Tomás Maldonado
Arturo, no. 1 [unique number published], Buenos Aires: s.n., Summer 1944
Arte Madí Universal, numbers 0 to 7/8 [complete set], Buenos Aires: Madinemsor, 1947-1954
Perceptismo 4, 1952, and cover of Perceptismo, no. 4, Buenos Aires: s.n., May 1952
NV Nueva visión: Revista de cultura visual, numbers 1 to 9 [complete set], Buenos Aires: Editorial Nueva Visión, 1951-1957
Tomás Maldonado; Carlos Ruiz
a: Publicación de arte, numbers 1 to 3 [complete set], Buenos Aires: Nueva Visión, August 1956 - March 1958
Manifesto of the movement Arte Concreto, Buenos Aires, 28 September 1945
Ephemera of Asociación de Arte Concreto-Invención and Madí, 1946
1ª exposición de la Asociación Arte concreto – invención, Buenos Aires: Salón Peuser, March-April, 1946
Movimiento Arte Concreto Invención, 1945
G. Kosice, 1945
N.º 40, 1946. Pencil and paint on cardboard, 10.5 x 5.5 cm
N.º 164, 1948. Pencil and paint on paper, 24.7 x 18.6 cm
Manuscripts on lectures, 1947-1949
a, 1953, and cover of acht argentijnse abstracten, Amsterdam: Stedelijk Museum, n.d. [1953?]
El caballero invisible anónimo español del siglo XVII, Buenos Aires: UBU, 1944 [cover and inside]
100 works of art and documents.
In the forties, the publication of the first and only issue of the magazine Arturo (Buenos Aires, 1944) would mark the beginning of a new project by the Buenos Aires-based artist circle pivoting around Carmelo Arden Quin, Rhod Rothfuss, Gyula Kosice and Edgar Bayley. A year later, they were to form, together with Raúl Lozza, Tomás Maldonado, Lidy Prati and other artists, the Asociación Arte Concreto-Invención, which resolved to forge non-figurative art that was neither strictly concrete or abstract in a traditional sense. Thus, the ‘arte madí’ concept came into being, seeking invention and creation in an a multidisciplinary, integral and absolute sense, in which art, literature, theatre, music, architecture and design would go hand in hand, encompassing all the dimensions of time, space and matter, whilst also embodying a type of liberating spirit, as Gyula Kosice declared in the group’s founding manifesto, published in 1946.
This collection is structured around part of the personal archives of Raúl Lozza, which span—together with a set of his own manuscripts and original drawings—the complete series of the Buenos Aires-based magazines Invención (1945), Arte Concreto Invención (1946), Arte Madí Universal (1947–1954), Contemporánea (1948), Perceptismo (1950–1953) and Arte Nuevo (1956–1958), as well as Nueva Visión (1951–1957) and the quarterly publication A (1956–1958)—both run by Tomás Maldonado—a series of books featuring work by Tomás Maldonado himself, Arden Quin, Rhod Rothfuss and Gyula Kosice, in addition to various photographs from the time, original works and catalogues by said artists.