Documents of 20th-century Latin American and Latino Art

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    Synopsis

    On the one hand, an excerpt from the text by the Mendoza-based poet and writer Teresita Saguí Mendoza, reproduced in the folder of Gyula Kosice’s first retrospective exhibition at the Museo Nacional de Bellas Artes in Buenos Aires in May 1991, reinforces the artist’s trajectory: from the magazine Arturo, through Madí group, to hydraulic and light works. On the other, the author observes a participatory character of his works—they “induce” imaginative responses from the viewer/reader, constructing the space of freedom.

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    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, 731968, 742696, 732154, 743080). He is credited with the pioneering 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 started in 1946, was first unveiled in 1971 [For more information on The Hydrospatial City, see (docs. no. 1274910, 1274894, 1274878).].