Of Hungarian origin, Gyula Kosice Â (born Fernando Fallik) arrived in Argentina with his family in 1928. He studied drawing and modeling, and in 1944, interested in vanguard art, he founded with others the magazine Arturo, which supported non-figurative art. The same year, he made RÃ¶yi, his first abstract sculpture, with movable parts that invited the spectator to transform it. When the Arturo group dissolved, Kosice participated in the exhibitions of the AsociaciÃ³n Arte Concreto-InvenciÃ³n (1945) and joined the MadÃ movement (in 1946) together with Carmelo Arden Quin, Martin Blaszko and Rhod Rothfuss.
The members of the MadÃ group questioned the lack of universality of concrete art. Their approach was, rather, to invent and create objects with timeless and absolute value. In 1946, Kosice initiated his Estructuras lumÃnicas con gas neÃ³n, works that for the first time used neon tubes as part of his investigations into the use of new materials and technologies. At the same time he was also produced paintings with trimmed frames and a variety of metallic sculptures.
In 1947, after the publication of the Madi manifesto and the organization of some exhibitions, a dispute arose between Kosice and Arden Quin. This caused a split in the MadÃ movement. Arden Quin went to Paris, while Kosice and Rothfuss continued exhibiting MadÃ art in Buenos Aires and Montevideo. They published the magazine Arte MadÃ Universal, directed by Kosice. In 1947, Kosice had his first solo exhibition (GalerÃas PacÃfico, Buenos Aires), in which he displayed works made with aluminum, Plexiglas and neon light. By this time, the trimmed frame of his paintings had disappeared and the color planes were freed of constraint. With the MadÃ group he participated in important group exhibitions, such as Arte Nuevo (SalÃ³n Kraft, Buenos Aires, 1947), SalÃ³n des RÃ©alitÃ©s Nouvelles (Paris, 1948) and SalÃ³n Nuevas Realidades (GalerÃa Van Riel, Buenos Aires, 1949).
In 1948, Kosice made his first experiments integrating water and art and produced his Esculturas hidrocinÃ©ticas. During the 1950s and 1960s, he continued developing his work, both with luminance current and hydrokinetics, which he combined in some cases. In 1954, he stopped publishing Arte MadÃ Universal, and in 1957, he moved to Paris. There, his hydrokinetic works reached greater dissemination with the launching of the manifesto La arquitectura del agua en la escultura (1959) and the exhibition Sculptures hydrauliques (Galerie Denise RenÃ©, 1960). In 1964, he returned to Argentina.
The publishing of the manifesto La ciudad hidroespacial (1971) began a new stage of Kosiceâ€™s career. In it, he proposed a solution to worldwide overpopulation through a project of urban habitat animated by hydraulic energy located at 1,500 meters of altitude. The works that he made for this project, which in reality were scaled-down models, constituted a synthesis of art, science, technology and science a fiction. Throughout this decade, he presented this project in several exhibitions, including ones at the Espace Pierre Cardin (Paris, 1975) and the Planetarium Galileo Galilei (Buenos Aires, 1979).
Kosice created numerous works for public spaces, including Faro de la cultura (La Plata, Argentina, 1982), Victoria (Olympic Park, Seoul, Korea, 1988), and Monumento a la democracia (Buenos Aires, Argentina, 2000). Recently he has been recognized in Argentina with several awards, amongst them the Premio a la Trayectoria en Artes PlÃ¡sticas (Fondo Nacional de las Artes, 1994) and the Premio Cultura NaciÃ³n (SecretarÃa de Cultura de la NaciÃ³n, 2007).
Gyula Kosice lives and works in Buenos Aires.