195:. For the remainder of his life, he remained a prominent figure in Arte Madí, continuing to contribute to magazine publications. He continued to create Madí paintings and sculptures, experimenting with new materials including stainless steel, aluminum, bronze, and plexiglass. One of his most notable works, Hydrospatial City, was created to propose an antigravity solution to Earth's large and growing human population and is the subject of many of his publications. Kosice continued to participate in exhibitions and in the creation of monumental works all around the world.
361:, plexiglas, aluminum, and water. These sculptures were Kosice's experimentations with the perception of color, its motion, and how it can make the viewer feel visually unstable. The use of constantly shifting water combined with moving light was what created the feeling of instability as these elements were always in perpetual motion. These "hydrokinetic" sculptures had their roots in the concrete art movement, however they truly fit and thrived in the kinetic art movement. These artworks were exhibited in 1958 at the Galeria Densie René in Paris.
327:(1944): Kosice created this piece during the time of the Arturo art group's first exhibitions in 1944. One of the first artworks to depend on the viewer's participation, Kosice created this wooden structure using hinges and wing nuts. The viewer is encouraged to move parts of the structure to position it as they want to, making this piece one of the first to rely on viewer participation. This artwork was made under the same ideas that define the Kinetic Art movement of the 1960s. Another artwork call
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project that proposed creating a classless society by building an entirely new city. For many years, he worked on this project. Kosice started this large and radical project out of his interest for space travel. He felt that contemporary architecture was centered around functionality for the powerful
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magazine and form the AACI. The focus in his early art career was about concrete, nonobjective art and how it could radically change society for the better. He worked alongside many other
Argentine artists who all shared the same idea that art should reference only itself and should only be made for
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In 1965, Kosice made
Columnas Hidroluz. Translated as "Hydrolight Columns", this work was made of plastic hemispherical containers that held cycling water inside. This work focused on the effects of light in shifting water on the viewer. As the water and air bubbles constantly moved, this work (and
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In the early 1940s, Kosice started his first non-figurative drawings, paintings, and sculptures. He was inspired by
Leonardo da Vinici's to use science and invention to think to the future rather than focusing only on the present. He also wrote texts and poems about interdisciplinary art at this
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Over the next few years, Kosice hosted many international exhibitions with this group of artists. In the Madí Manifesto that Kosice wrote, alongside the other group members, Kosice explained that Madí art is the "absolute value" of the presence and theme of the work, and that it was only to be
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He is remembered for his innovative contributions to the kinetic art movement in
Argentina. He was the first to use neon light and gas, creating nonrepresentational patterns in his sculptures. He created many monumental sculptures, hydrospatial walks, and hydrowalls using these elements.
299:, which was founded by Kosice alongside Quin, Ruthfuss and Martín Blaszco. Grupo Madí was unique from AACI in that they wanted to include sculpture, design motifs, and architecture. This gave Kosice a venue to experiment with plastics, water, and neon in his works.
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In 1932, at the age of 8, Kosice was orphaned and he and his two brothers were taken in by an immigrant companion of his father. As a child and a young adult, Kosice was an avid reader and frequently visited popular libraries where he discovered the inventions of
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people in society more than anything else, and that this focus made the oppression of the lower class in
Argentina much worse. He also wanted to model a futuristic urban habitat, which he envisioned spatial architecture that flowed without boundaries like water.
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expressed by nothing more than the unique formal characteristics of the creative discipline that it was made in. His examples were painting with color on a two-dimensional surface, or creating a sculpture that has "movement" but not adding or changing color.
308:" was made-up by the group and carried no meaning whatsoever. The main concern of this group was to reach out beyond the art community and to encourage people in all creative disciplines (such as dancers, architects, and actors) to carry the "
155:, hydrospatial walks, hydrowalls, etc. Kosice is also known for his involvement in founding the Association Arte Concreteo – Invacion (AACI) and Grupo Madí. He made more than 40 personal and 500 collective exhibitions all over the world.
140:, was a Czechoslovakian-born and naturalized Argentine sculptor, plastic artist, theorist, and poet. He played a pivotal role in defining the concrete and non-figurative art movements in Argentina and was one of the precursors of
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In 1948, he was involved in a Madí exhibition at Réalités
Nouvelles, Paris. He was invited by Del Morle and the governing board. He received the collaboration of the France Cultural Attach in Buenos Aires, M. Weibel Reichard.
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Gyula Kosice's art career really started in 1944. In the early 1940s Kosice started going to the Buenos Aires cafes where he met other poets and art enthusiasts. He debated poetry with
Alberto Hidalgo and was introduced to
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consisted of many plexiglass models for architects to create a new large, self-sustaining cosmic city. It was also made of plastic, metal, and many other materials that were collaged onto pictures of cloudy skies.
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Kosice's artistic career began in the 1940s as he started to collaborate and work alongside other ambitious artists who shared similar ideas about what art should be. He was involved in the formation of
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spirit". They did this by including articles in their published journals on poems written by others, general art theories, reports on musical events, photos of other exhibitions, and a "
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in Košice, Czechoslovakia on 26 April 1924. He lived there with his parents and two brothers until he was 4 years, at which time his family emigrated to
Argentina aboard the
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Exhibition Kosice, aluminum relieves. 1945 – 50. Documents about Madí art. Departamento
Cultural Librería de la Ciudad, Galería del Este, Buenos Aires.
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Throughout his lifetime, Gyula Kosice hosted more than 40 personal exhibitions and participated in 500 collective exhibitions all over the world.
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331:(1948) was the first artwork to incorporate water and contains a small, motored device that moves an acrylic box filled with water and air.
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202:. Laãn also was an artist and poet of the Arte Madí group but later gave up her own career to support Kosice and his artistic career
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style, and
European avant-garde art. It was there that he met the other concrete artists with whom he would later publish the
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In the late 1950s, Gyula Kosice started to create his motorized "hydrokinetic" sculptures that incorporated the use of
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Several of Kosice's early works embodied the very principles that helped define the AACI and Madí's artistic goals.
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Museo Provincial de Bellas Artes Rosa Galisteo de Rodríguez – 82nd Annual in Santa Fe, Argentina. Special Guest.
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Ferdinand Fallik, who later adopted the stage name Gyula Kosice as a tribute to his hometown, was born into an
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In 1945, the same group of artists split into two separate groups in Buenos Aires. The first was known as the
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632:"100 obras de Kosice, un precursor", Centro de Artes Visuales, Instituto Torcuato Di Tella, Buenos Aires.
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in his artwork, using them to create non-representational patterns in what he called "Hydrokinetism".
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The meaning of the group has been called into question many times, but Kosice claimed that the word "
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Merryl Lynch Arteaméricas, G. Kosice special guest representing Latin America. Miami, United States.
338:(Buenos Aires, Argentina), which was the first totally non-figurative exhibition in Latin-America.
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in 1982, the Konex Merit Diploma in 2002, and the Konex Special Mention in 2012 (posthumous).
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others like it) appeared to "defy the laws of gravity", which made the viewer feel unstable.
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Tribute to Master Gyula Kosice in Culture and Art, Nation's Senate, Buenos Aires, Argentina.
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Exhibition of spatial constructions and first hydraulic sculpture, Drian Gallery, London.
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In 1947, Kosice hosted his first personal exhibition of Madí Art at the Bohemien Club in
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729:"Esculturas insólitas, pequeño formato, piezas únicas" Galería Birger, Buenos Aires.
183:. He also began to write poetry, which he continued doing for the rest of his life.
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783:"Homenaje a un creador multifacético. 62 años de trayectoria. Obras Digitales."
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Little Kosice Room. Latin-American Art Museum, Austin, Texas, United States.
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Kosice's Monumental Works, Centro Cultural de la Ciudad de Buenos Aires.
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Kosice, Sculpture: water, light, movement. Galería Bonino, New York.
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interview of Gyula Kosice by Lyle Rexer and Gabriel Pérez-Barreiro
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Hydrospatial City, City of Buenos Aires Galileo Galilei planetary.
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Hydrospatial Exhibition organized by Argentine "Confagua" and the
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G.K., Foyer del Teatro Municipal General San Martín, Buenos Aires.
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Kosice was granted the Trajectory in Plastics Arts award by the
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This article is about the Argentine artist. For other uses, see
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Exhibition organized by Museo de Arte Moderno de Buenos Aires.
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In 2005, he turned is workshop in Buenos Aires into a museum.
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Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (1993).
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Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (1993).
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Making the Americas modern : hemispheric art, 1910-1960
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Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (1993).
519:, Favaloro Foundation, City of Buenos Aires, Argentina. 2000
385:(National Arts Fund) in 1994. Also was granted the Platinum
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1174:. Austin, TX: University of Texas Press. pp. 149–150.
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Hydrokinetic works, Galería Unika, Punta del Este, Uruguay.
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for the "Water World Conference", Mar del Plata, Argentina.
1337:"The Madí Movement Explained: Connecting Art and Geometry"
1251:"Gyula Kosice. Röyi, 1944 | Daros Latinamerica Collection"
662:"La Ciudad Hidroespacial", Galería Bonino, Buenos Aires.
501:, Centenary of the founding of La Plata, Argentina. 1982
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Kosice died in Buenos Aires, Argentina on 25 May 2016.
1224:. Austin, TX: University of Texas Press. p. 151.
1129:. Austin, TX: University of Texas Press. p. 148.
949:"Gyula Kosice: "El arte es la moneda de lo absoluto""
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La cite' hydrospatial. Espace Cardin, Paris, France.
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Bijoux et sculptures d'eau, Galerie Lacloche, Paris.
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Viviendas Hidroespaciales en la Constelación de Yael
1154:. Great Britain: George Wittenborn Inc. p. 78.
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670:Galería de Arte del Banco Continental, Lima, Peru.
525:, Junín, province of Buenos Aires, Argentina. 2000
985:Kosice, Gyula; Rexer, Lyle; RAY, MONTANA (2013).
695:Kosice bijoux hydrospatial, Espace Cardin, Paris.
638:150 meters of rain, Florida street, Buenos Aires.
198:In 1945, he met his wife and life-long companion
1315:. Austin, TX: University of Texas. p. 228.
234:its own sake. In 1944, he published the journal
1197:Latin American Artists of the Twentieth Century
1099:Latin American Artists of the Twentieth Century
1022:Latin American Artists of the Twentieth Century
392:Kosice passed away in 2016 at 92 years of age.
345:In the late 1940s, Kosice was the first to use
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743:Kosice, Hakone Open Air Museum, Tokyo, Japan.
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1467:Argentine people of Hungarian-Jewish descent
1311:Barnitz, Jacqueline; Frank, Patrick (2001).
1220:Barnitz, Jacqueline; Frank, Patrick (2001).
1199:. Oxford: Museum of Modern Art. p. 88.
1170:Barnitz, Jacqueline; Frank, Patrick (2001).
1125:Barnitz, Jacqueline; Frank, Patrick (2001).
1101:. Oxford: Museum of Modern Art. p. 87.
1024:. Oxford: Museum of Modern Art. p. 97.
806:Madí Walk, at Florida Street (Buenos Aires).
613:Galería de Arte Moderno, Córdoba, Argentina.
531:, Museum of the Park, Portofino, Italy. 2009
1150:The American Abstract Artists, ed. (1956).
654:Galería Estudio Actual, Caracas, Venezuela.
1082:: CS1 maint: location missing publisher (
706:Kosice Works, Galería Pozzi, Buenos Aires.
432:Una Gota de Agua Acundada a Toda Velocidad
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329:Una gota de aqua acunada a todad velocité
444:Círculos Lumínicos y Llíea de Agua Móvil
264:El movimiento de arte concreto-invención
136:; 26 April 1924 – 25 May 2016), born as
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888:Del Arte Madí a la Ciudad hidroespacial
759:Retrospective Exhibition, 1944 – 1990.
513:, City of Buenos Aires, Argentina. 2000
1313:Twentieth-Century Art of Latin America
1222:Twentieth-Century Art of Latin America
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575:Kosice, Galerie Denise René, Paris.
353:Late career and death (1950s–2016)
275:Asociación Arte Concreto-Invención
189:Asociación Arte Concreto-Invención
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692:Kosice, Israel Museum, Jerusalem.
368:In the 1970s, Kosice started the
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974:Official webpage of Gyula Kosice
840:Peso y medida de Alberto Hidalgo
852:Geocultura de la Europa de hoy
761:Museo Nacional de Bellas Artes
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918:Arte y filosofía porvenirista
621:Galería Bonino, Buenos Aires.
567:Galería Bonino, Buenos Aires.
1378:Gyula Kosice’s personal page
1048:Sullivan, Edward J. (2018).
951:(in Spanish). Archived from
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523:Tríada – Fuente del Milenio
383:Fondo Nacional de las Artes
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1255:www.daros-latinamerica.net
924:Madigrafías y otros textos
507:, La Paloma, Uruguay. 1985
495:, Caracas, Venezuela. 1968
474:Cilindro Luminoso y Esfera
462:Constelaciones No.1 – No.6
426:Estructura Lumínica Madí 6
111:Royi, Ciudad Hidroespacial
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1284:"Gyula Kósice. Biography"
1152:The World of Abstract Art
548:Small list of exhibitions
493:Tiempo Para Hidroespaciar
119:Concrete Art, Kinetic Art
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785:Centro Cultural Recoleta
773:Centro Cultural Recoleta
511:Homenaje a la Democracia
148:as part of the artwork.
1457:Argentine male painters
1401:Gyula Kosice at ArtFact
870:La ciudad hidroespacial
594:Galerie La Hune, Paris.
165:ethnic Hungarian family
21:Kosice (disambiguation)
1487:Hungarians in Slovakia
586:Galerie L'Oeil, Paris.
480:Indermitencia Lumínica
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1389:Gyula Kosice at inIVA
787:, Buenos Aires, 2003.
505:El Vuelo de la Paloma
260:Art concret invention
248:Joaquín Torres-García
153:monumental sculptures
1477:Installation artists
1394:16 June 2006 at the
1374:at Wikimedia Commons
906:Teoría sobre el arte
420:Esculatra Articulada
375:Ciudad Hidroespacial
370:Ciudad Hidroespacial
212:Early career – 1940s
1462:Argentine sculptors
1452:Argentine muralists
1442:Artists from Košice
1415:3 July 2015 at the
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281:, and consisted of
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864:Arte hidrocinético
605:Gallery, New York.
517:Corazón Planetario
499:Faro de la cultura
468:Gota de Agua Móvil
240:Carmelo Arden Quin
1370:Media related to
1061:978-1-78627-155-6
955:on 6 January 2015
858:Poème hydraulique
557:Galerías Pacífico
438:Talla Directa "C"
336:Galerías Pacífico
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1432:1924 births
1347:11 December
1293:11 December
1265:21 November
464:, 1970–1972
387:Konex Award
268:Grete Stern
191:(AACI) and
151:He created
98:Nationality
92:, Argentina
82:25 May 2016
1426:Categories
1054:. London.
931:References
359:neon light
296:Grupo Madí
291:Enio Iommi
287:Lidy Prati
256:Lidy Prati
193:Grupo Madí
173:Alcanatara
134:Falk Gyula
60:1924-04-26
1078:cite book
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999:0743-3204
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882:Arte madí
828:Invención
487:Monuments
200:Diyi Laãn
130:Hungarian
101:Argentine
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1392:Archived
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146:neon gas
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1084:link
1066:OCLC
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995:ISSN
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961:2015
535:Röyi
529:Röyi
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325:Royï
314:Madí
310:Madí
305:Madí
262:and
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