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.
Kosice’s essay refers to the topical nature and, therefore, the universal quality of “arte madí” [Madí Art]. He explains that Madí art has already spread beyond its original core in Buenos Aires, as he notes in his comments on this exhibition of Arte Madí Internacional [International Madí Art].
Gyula Kosice, an exponent of the visual arts, was a member of the group that launched Arturo magazine. He was also involved in the Arte Concreto — Invención Movement, and joined the Arte Madí group in 1946. In 1948, a collection of his works was exhibited at the Salon des Réalités Nouvelles in Paris. As a sculptor he created mobile structures that relied on water, movement, and light. He currently lives and works in Buenos Aires.
The Arte Madi Internacional exhibition was held at the Galería Bonino in Buenos Aires, in 1956. The introduction in the catalogue is by Gyula Kosice, and there is also a short essay by J. B. Rivera and an excerpt from Juan Eduardo Cirlot’s article titled “La esencia del arte” [The Essence of Art]. The exhibition included works from the United States by W. Barnet, I. Bolotowsky, N Kasak, and G. L. K. Morris; from Uruguay by A. Llorens, R. Rothfuss, A. Sánchez, and R. Urricchio; from Brazil by N. Oliveira; from Argentina by J. Bay, A. J. Biedma, G. A. Gutiérrez, B. L. Herrera, G. Kosice, A. Linenberg, I. Muchnik, and A. Scopelliti; from Cuba by S. Darie; and from Chile by E. Eitler.