30 Facts About Gyula Kosice

Gyula Kosice, born as Ferdinand Fallik, was a Czechoslovakian-born and naturalized Argentine sculptor, plastic artist, theorist, and poet.

Gyula Kosice played a pivotal role in defining the concrete and non-figurative art movements in Argentina and was one of the precursors of kinetic, luminal, and hyrdokinetic avant-garde art.

Gyula Kosice's work was revolutionary in that it used, for the first time in international art scene, water and neon gas as part of the artwork.

Gyula Kosice made more than 40 personal and 500 collective exhibitions all over the world.

Ferdinand Fallik, who later adopted the stage name Gyula Kosice as a tribute to his hometown, was born into an ethnic Hungarian family in Kosice, Czechoslovakia on 26 April 1924.

Gyula Kosice lived there with his parents and two brothers until he was 4 years, at which time his family emigrated to Argentina aboard the Royal Mail Lines Alcanatara steamship in 1928.

In 1932, at the age of 8, Gyula Kosice was orphaned and he and his two brothers were taken in by an immigrant companion of his father.

Gyula Kosice began to write poetry, which he continued doing for the rest of his life.

Gyula Kosice was involved in the formation of Asociacion Arte Concreto-Invencion and Grupo Madi.

Gyula Kosice continued to create Madi paintings and sculptures, experimenting with new materials including stainless steel, aluminum, bronze, and plexiglass.

Gyula Kosice continued to participate in exhibitions and in the creation of monumental works all around the world.

Gyula Kosice died in Buenos Aires, Argentina on 25 May 2016.

Gyula Kosice was inspired by Leonardo da Vinici's to use science and invention to think to the future rather than focusing only on the present.

Gyula Kosice wrote texts and poems about interdisciplinary art at this time.

Gyula Kosice debated poetry with Alberto Hidalgo and was introduced to Constructivism, the Bauhaus style, and European avant-garde art.

Gyula Kosice worked alongside many other Argentine artists who all shared the same idea that art should reference only itself and should only be made for its own sake.

The meaning of the group has been called into question many times, but Gyula Kosice claimed that the word "Madi" was made-up by the group and carried no meaning whatsoever.

Gyula Kosice's examples were painting with color on a two-dimensional surface, or creating a sculpture that has "movement" but not adding or changing color.

Royi : Gyula 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, Gyula Kosice created this wooden structure using hinges and wing nuts.

In 1947, Gyula Kosice hosted his first personal exhibition of Madi Art at the Bohemien Club in Galerias Pacifico, which was the first totally non-figurative exhibition in Latin-America.

Gyula Kosice was invited by Del Morle and the governing board.

Gyula Kosice received the collaboration of the France Cultural Attach in Buenos Aires, M Weibel Reichard.

Gyula Kosice started this large and radical project out of his interest for space travel.

Gyula Kosice felt that contemporary architecture was centered around functionality for the powerful people in society more than anything else, and that this focus made the oppression of the lower class in Argentina much worse.

Gyula Kosice wanted to model a futuristic urban habitat, which he envisioned spatial architecture that flowed without boundaries like water.

Gyula Kosice was granted the Trajectory in Plastics Arts award by the Fondo Nacional de las Artes in 1994.

Gyula Kosice is remembered for his innovative contributions to the kinetic art movement in Argentina.

Gyula Kosice was the first to use neon light and gas, creating nonrepresentational patterns in his sculptures.

Gyula Kosice created many monumental sculptures, hydrospatial walks, and hydrowalls using these elements.