By Madí Art we mean an organization of the elements belonging to every art in their continuity. This involves the presence, mobile dynamic arrangement, development of proper theme, lucidity and plurality as absolute values, any intervention of expression, representation and meaning being consequently abolished.
Madí drawing is an arrangement of points and lines on a surface.
Madí painting, colour and bidimensionality. Cut away and irregular frame, flat surface and curve or concave surface. Articulated planes with a lineal, revolving and translation motion.
Madí sculpture tridimensionality, not colour. Total form and solids with contour, and articulation, rotation and translation, motions, etc.
Madí architecture, mobile and shiftable environment and form.
Madí music, inscription of sounds into the golden section.
Madí poetry, invented sentences, ideas and images not translatable through any other medium, except language. Pure idea process. Madí theater, mobile scenery, invented dialogue.
Madí novel and tale, characters and action not confined to any place or time, or in places and times completely invented.
Madí dance, body and motion confined to a measured environment, without music.
In the countries which reached the highest point of their industrial development the old bourgeois realism disappears almost totally: in them naturalism retreats and defends itself but feebly.
It is then that romantic abstraction, essentially expressive, takes its place. This tendency includes all figurative art schools, from cubism to surrealism. Such schools have met the ideological needs of their time and their accomplishments are invaluable contributions to the solution of the problems confronting the culture of our time. Not with standing, they must be regarded as historically obsolete. On the other hand, their insistence on themes that are "exterior" to their own qualities is a retrogression at the service of naturalism and against the authentic constructive spirit which is spreading over all countries and cultures under the names of expressionism, surrealism constructivism, etc.
With the "concrete" -which as a matter of fact is the youngest shoot of the abstractionist spirit-the great period of non-figurative art begins, in which the artist using the element and its respective continuity creates his work in all its purity without any hybrid mixtures or any objects not belonging to its nature. But in the "concrete" there has been a lack of universality and of consequence of organization. Artists have fallen into deep and insuperable contradictions.
The great empty spaces and taboos of the old art have been retained, for example in painting, sculpture, poetry, etc., superposition, the rectangular frame, plastic athematism, the static element and the interference between volume and environment: gnoseological sentences that can be translated graphically. As a result of this, concrete art has not been able to resist successfully, by means of an organic theory and a disciplined practice, the intuitionist movements which, as surrealism for example, have conquered all the world. Hence the victory, in spite of unfavorable conditions, of the instinctive impulses over thought; of subconscient revelations of subconscience over cool analysis, the rigorous study on the part of the creator of the laws of the objects to be constructed; of symbolism, hermeticism, of magic over reality; of metaphysics over experience.
As far as theory and knowledge of art are concerned, it must be said that a subjective, idealistic and reactionary description is prevalent in them.
In short, before Madí art was:
A scholastic idealistic historicism.
An irrational theory.
An academical technique.
A one-sided statical false composition.
A work lacking a real essentiality.
A consciousness paralyzed by its unsolvable contradictions; impermeable to a renewal of technique and style.
Against all this rises Madí confirming the constant absorbing wish of man to invent and construct objects within the absolute values of eternity: together with mankind struggling for a new society without classes which will set free energy and dominate space and time in all directions, and matter to its last consequences.
Without fundamental descriptions concerning the wholeness of organization it is impossible to construct objects or make them enter the constant order of creation. Thus the idea of invention is defined in the technique field, and that of creation as a totally defined essence.
For Madism invention is a superable inward method, and creation an unchangeable totality. Madí, consequently, INVENTS AND CREATES.
Buenos Aires, 1946