This book presents a cultural history of the main features of the disciplinary professionalization and development of forms, contents, and methodologies that architecture, photography, and design experienced in both Germany and Argentina during the first half of the 20th century.
Lucio Piccoli argues that the figure of empathy and the experience of vision contributed, towards the end of the 19th century, to the foundation of a new paradigm of perception, through which it is possible to reinterpret jointly the historical circulation of modernist ideas during the 20th century. The empathetic and visual perception syntax constitutes, then, the focus of an analysis that sheds new light on three highly significant experiences of that global historical process with the aim of demonstrating how each one of them participated in a common way of perceiving space and forms.
In this way, and without leaving aside the drastic ruptures and convulsions typical of the aesthetically revolutionary experiences of the agitated and brief 20th century, the work weaves together key episodes from the trajectories of Werner Hegemann, Grete Stern, and Tomás Maldonado with their 19th-century conditions of possibility. From a long-duration aesthetic perspective that differs from the effervescent temporality of subjectivities and political chronologies often used in other analyses of the period, the author elaborates new historiographical interpretations on the works of these three fundamental characters of modernism.
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