Square is a publication that debuts with the theme of Concrete Art.
It recalls its appearance in the 20th century and the way it was defined by several artists of the time.
In the Square issue, Richard Hollis writes about one of the most influential concretist artists of the time, Max Bill. The issue also deals referes Karl Gerstner and Müller-Brockmann. They published magazines, advertising posters, graphic works and books that reflect the impact of concretism and what it represents for each one.
Concrete art implies precision, that is, a mathematical and rigorous study that can satisfy the needs of function. For Max Bill, who had studied architecture, typography and page design was similar to building a building, it was about organising parts in a structure. Thus, Bill and other concretist artists stressed the need for a base, for something modular, for a grid.
In this way, the square emerged as a minimal unit for concretism, a constant resource for both art and design. Consequently, the name of this publication is inspired by precisely this aspect of art, which is concretism. The constant use of blue is due to the work Kalte Kunst? by Karl Gerstner, whose translation is Cold Art?.
