The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This brochure of the presentation of Gyula Kosice’s The Hydrospatial City [La ciudad hidroespacial] at the Planetarium of the city of Buenos Aires [Planetario de la Ciudad de Buenos Aires] in September 1979 contains statements on the artist’s achievement by the luminaries of the Argentine and international artistic and scientific worlds: lawyer and diplomat Aldo C. Cocca (b. 1924) and astrophysicist Carlos M. Varsavsky (1933–1983); Argentine art critics Jorge Romero Brest (1905–1989), Rafael Squirru (b. 1925), and Osiris Chierico (1927–1993); French critics Pierre Restany (1930–2003), Otto Hahn (1928–1996), Michel Ragon (b. 1924), Pierre Cabanne (1921 –2007), and Pierre Descarguez (1925 –2012); Spanish critic and historian Carlos Arean (b. 1921); and the precursor of Op art, artist Victor Vasarely (1906–1997). These statements affirm Kosice’s long track record of artistic innovation, dating back to his involvement in the Madí group in the late 1940s. At the same time, they claim that The Hydrospatial City goes beyond utopian artistic visions. Rather, it is a viable idea that can eventually improve the life of the entire human species.
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.
Kosice’s opus magnum, which he began in 1946, The Hydrospatial City [La ciudad hidroespacial] was first unveiled in 1971 in the prominent gallery Bonino in Buenos Aires (doc. no. 1274910) [For the significance of the gallery, see “Arte: de Domus a Bonino: La carrera de un marchand,” ICAA digital archive (doc. no. 766378)]. The project came together as an expansive installation consisting of a series of twenty three-dimensional acrylic maquettes of space habitats, light boxes, and “Descriptive Memories” [Memorias descriptivas permutables]—that is, diagrams and texts that outline the living conditions the artist envisioned for the specific habitats. The selection of Argentine and international scientists, art critics, and art historians—who extol Kosice’s project in this document—speaks to his established position as a leading experimental artist, both in his native Argentina and abroad; especially in France, where he exhibited since his participation in the Salon des Réalités Nouvelles in Paris in 1948. [For more information on The Hydrospatial City, see also (doc. no. 1274894).]