We invite competent authorities to stop and compare the true current of contemporary plastic arts with the submissions that today put us [our country] half a century behind", which vaguely attack the aesthetic choices of certain cultural officers under Perón.
[9] A Madí work is non-figurative and non-representational; it has a cut-out or irregularly-shaped form, which takes away the viewer's perception of spatial depth that a rectangular frame provides; its colors are flat and sharply defined; it is often three-dimensional and sometimes articulated and/or mechanical; and it is playful in spirit.
Madí artists were concerned with creating artworks that were autonomous with functions that naturally transcend the physical features that constitute the work.
They believed that representational images "forced others to relate to concepts, connotations, and feelings which were superfluous to the object itself... which enticed individuals into supporting class-based organizations".
[6] Madí is perhaps the sole remaining art movement which can boast of a half-century of uninterrupted activity since its creation in Buenos Aires in 1946.
Today, the MADI movement has over 60 members – painters, sculptors, architects and poets – working in France, Italy, Belgium, Spain, Hungary, Japan, Argentina and the United States.
In written works, artists "disrupted the construction of semantically coherent structures" to avoid attaching meaning to the art and the possibility of representation.
/ Madícional ['Madí-like' or 'of Madí origin'] opposition and resistance.Miogue: Account of events in which the authors of great answers participated.Molois: Site where the most varied adjectives are collected.
/ Fixation.Macichud: Line of shade that emits a loosening of gray beams.NNandy: Arrangement for new personal cuño.Nem-Er: Record of instances.Nigs: Opening that is left so that a cluster of enchanted powder emigrates.Novoh: Shooter that the riverside authority exercises to learn the coastal rulingRepresentatives of the Madí movement, in addition to Kosice, Quin and Rothfuss, include Martín Blaszko, Volf Roitman, Waldo Longo, Juan Bay, Esteban Eitler, Diyi Laañ, Valdo Wellington, and Ladislao Pablo Győri, among others.
Josee Lapeyrere, who met Arden Quin in 1962 and has since participated with her poem-objects in most of the events organized by the movement, replies: "MADI's goal is to be rigorous, inventive, gay and ludic.
In his essay, "Homo Ludens" ("Ludic Man") (1938), Johan Huizinga observed that, "Play reveals an aspiration to beauty.
The terms we use to designate the elements of play are, for the most part, the same as those utilized in the aesthetic realm: beauty, tension, balancing, equilibrium, gradation, contrast, etc.