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This document features a selection of poems from the first published volume of poetry by Gyula Kosice, titled Golse´-se: poemas madí 1942–1952 (Buenos Aires: Ediciones Madinemsor, 1952): “yimmo” from the collection “diametrales” (1942–44); “Tiempo de un kilometro de horizonte,” “Atracción,” and “Conatos,” from “invención” (1944–48); and “Conducto de aliners,” “Tabla rasa,” and “Hemisferio de bruces,” from “del cuadrante absoluto” (1948–52).
In the “Permanent Prologue” [Prologo permanente], Alberto Hidalgo poetically describes Kosice as someone who inhabits the territory beyond all boundaries. He points out Kosice has never been championed as the best poet of America and, in fact, he has never intended to be liked. This is only an expected situation of a true poet who is interested in the development of his own unique language, which by default is inaccessible to pedestrians or the uninitiated. To this end, Hidalgo notes how little understood Kosice is in his native Argentina, despite positive international reception of the Madí movement. Nonetheless, due to Kosice’s attitude, Hidalgo pronounces him the hope of Latin American poetry, who might earn his spot in the lineage of the greatest: César Vallejo, Pablo Neruda, and Hidalgo himself.
Gyula Kosice (né Fernando Fallik, 1924) was born in Košice in present-day Slovakia, but has lived in Argentina since the age of four. A visual artist, poet, essayist, and visionary, he has been associated with some of the most influential Argentine avant-garde groups and movements. He served as a co-editor of Arturo magazine (1944) [For Kosice’s statement from Arturo, “La aclimatación artística gratuita a las llamadas escuelas…,” see the ICAA digital archive (doc. no. 729940).] and was a member of the association Arte Concreto—Invención (1945–46) (docs. no. 731671, 731530, 770319) and the Madí group (established in 1946) (docs. no. 743081, 731954, 731995, 742696, 732154, 743080).
Kosice is best known for his pioneering sculptural use of such materials as neon tubes, Plexiglas, water, and light, which positions him as one of the precursors of Kinetic art. His opus magnum, The Hydrospatial City [La ciudad hidroespacial], which he began in 1946, was first unveiled in 1971 in the gallery Bonino in Buenos Aires (doc. no. 1274910) [For more information on The Hydrospatial City, see (docs. no. 1274894, 1274878)]. At the same time, Kosice has also been a prolific poet, essayist, and theorist. Indeed, since its inception, the Madí group postulated their ideas and style applied to all artistic disciplines. To this end, Kosice’s poems from Golse´-se: poemas madí 1942–1952 seem to reflect many of the artist’s preoccupations materialized later in The Hydrospatial City. [For Madí’s interdisciplinary pronouncements, see “Se reconocerá por Arte Madí...” (doc. no. 732008), “Estilo y concepto universalista de Madí” (doc. no. 731968), and “Nous autres madistes, prenant les éléments propres de...” (doc. no. 751035).]
Notably, the “Permanent Prologue” [Prologo permanente] to Kosice’s book was penned by the Peru-born, Argentina-based avant-garde poet Alberto Hidalgo Lobato (1897–1967)—one of the leading experimental voices during the productive ferment of the 1920s in Buenos Aires and the co-editor, with Jorge Luis Borges (1899 –1986) and Vincente Huidobro (1893–1948), of the ground-breaking anthology Índice de la nueva poesía americana (Buenos Aires: Sociedad de publicaciones El Inca, 1926). In turn, in 1953, Kosice published the volume Peso y medida de Alberto Hidalgo (Buenos Aires: Ediciones S.I.G.L.A., 1953).