La Línea en Función del Plano 1947

Curator: Let's take a look at Raul Lozza's "La Línea en Función del Plano" from 1947, executed in acrylic paint and drawing. What are your first impressions? Editor: Immediately, I'm struck by its quiet, almost melancholic mood. The loose, brushed indigo backdrop gives it an unfinished feel. Makes me think of a cloudy day. Curator: Lozza, along with other artists in Argentina, were pushing towards concrete art. It was important to them that artwork didn't represent anything beyond itself. Notice how Lozza emphasizes the physical properties of line and plane. Editor: It's like he's dissecting space, reducing it to its bare essentials. Those intersecting black lines could be mapping out a constellation, or maybe a floor plan of a very austere building. There's a cool detachment here, a lack of sentiment. Curator: Exactly! This is characteristic of neo-plasticism. You've got Lozza exploring fundamental visual elements, reflecting an industrialized society, its clean lines. This isn't about emotional expression but about exploring objective visual truths. The materials are mass produced, lacking an artist's individual touch. Editor: But there is something inherently human in this geometric construction. Look how slightly irregular these lines and colored planes really are. And doesn't this background almost make it a scene? Curator: Even these slight imperfections don't necessarily take away from his process. It is also essential to recognize the sociopolitical context of Lozza’s practice in post-war Argentina; Lozza aimed at integrating his geometric forms within architecture. Editor: Integrating into architecture… That explains its spatial, almost architectural feel, like a blueprint of something grand but ultimately unknowable. Well, I am intrigued. Thanks for the enlightenment! Curator: Thank you. Seeing art with a critical lens only enhances its complexities.