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In this article, Gyula Kosice stresses the displacement, the conversion, and the shift of forms inherent in the sculpture of the Madí. He also points out that the base has become an integral part of the sculpture, whether a rotating one as submitted by Rothfuss, or a transformable one as suggested by Arden Quin. Kosice proposes here that the appropriate environment for Madí sculpture should take many forms and should have mobile structures that could be suspended in space.


Arte Madí Universal magazine was published from 1947 until June 1954. Gyula Kosice was the Editor, and was assisted by: Rhod Rothfuss, Diyi Laañ, H.-J. Koellreutter, Masami Kuni, Valdo Wellington, Alberto Sartorio, Alberto Hidalgo, and M. G. de la Fuente, among many others. The School’s Manifesto appeared in the first issue of the magazine. Gyula Kosice (né Fernando Fallik, 1924–2016) was born in Kosice (currently Slovakia) and spent his working life in Argentina. He was co-editor of Arturo magazine, and later joined the Madí group. He pioneered the use of new materials, experimenting with Plexiglas, glass, and neon tubes. He developed an interest in kinetics and devised ways of using water in his various projects. This particular document has been chosen because it establishes the nature of sculpture within the Madí group’s program. This article also previews Kosice’s ideas about the Ciudad Hidroespacial [The Hydro-Spatial City] that was created in 1972.

Cristina Rossi.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of Gyula Kosice, Buenos Aires, Argentina
Biblioteca Museo Nacional de Bellas Artes.