In the world of the 20th century, settlement as before for technical appliances and works that aspire to the status of art, diverse modernist currents they never wanted to put in traffic another family of objects, which could be catalogued neither as technology nor as art and which took the radical modification of the existing thing as the first raison d’être. The Argentine invencionismo was one of these currents. Born in the middle of the forties, in spite of his short existence it incubated the important lines of the Argentine art, as Madí, the Concrete Art Intervention and the Perceptism. Alejandro Crispiani us presents here a study that departs from the invencionismo to reconstruct the path of his radical impulse in two directions, which leads to the architecture and the one that takes to the industrial design, and in both cases in a territory different from that one in which it originated, the Chile of the decades from 1950 to 1970.
This way, this book plans for the first time the relations between the art invencionista Argentinly, the School of Architecture of Valparaiso (promoter of some of the most daring initiatives of forefront of the region) and the experiences of the Group of Design led by Gui Bonsiepe (a dip of the industrial European design of advanced in the social reality and Latin-American full politics of consequences); two experiences, the above mentioned, which happened for a particularly culminating moment in the relative thing to his nature and still to his own existence at the beginning of the year 1970, closing the cycle modernizador initiated in the postwar period.
Objects to transform the world, it combines the history of the architecture and the design, the history of the art and the intellectual history to put light in the interwoven one of aesthetic intentions philosophical ambitions and political aspirations that it constituted the own counterfoil of this fascinating episode of cultural contacts and trips of ideas and persons to one and another side of the mountain chain