The Planetarium, the best stage for a futuristic artist

No space is as propitious as the Galileo Galilei Planetarium from Buenos Aires with its vaully and heavenly roof, to exhibit the work of Gyula Kosice (1924-2016).

In the apparently unlimited dome of the planetarium, the projection of the “Intergalactic Crossing: The Hydro -Spatial City”a universe created by the great avant -garde transports the viewer to hundreds of kilometers from the earth. The inventiveness of Kosice And their prodigious imagination, they are in sight thanks to the project launched for the joint effort of the Malb Max Pérez FallikCoordinator of Malba Education and grandson of the visionary artist.

The Malba opened last year, when a century of the birth of the artist was fulfilled in the then Czechoslovakia (he was a child when he arrived in the country and was always considered Argentine), the exhibition “Gyula Kosice: Intergalactic”. Most of the works of that monographic and posthumous exhibition had come back to Buenos Aires from the Houston Museum, the US, since they were bought from the artist in 2009 by the curator Mari Carmen Ramírezresponsible for the exhibition next to the curator in chief of Malba, Marita García.

The Houston Museum has almost twenty models, and light works, photomontages, sketches, drawings, posters, a total of 50 works, the most representative, which left their holes in the Kosice Museum located in Villa Crespo. There are, on Humahuaca street, the surprising pieces he made Kosice During your life. In 1944 Röyi created, the first articulated and mobile sculpture in Latin America.

That same year, the magazine “Arturo”, which proposes an art of pure invention, not figurative. In 1945 he is co -founder of concrete art – invention (vanguard of concrete art) and publishes invention (mobile sculptures, theory and poems). In 1946 he founded the Madí Artdesignates his name and writes his manifesto, proposes total creation and invention, freeing the art of all ties; Edges eight numbers of Art Míí Universal magazine.

The splendor of neon in the radiant light sculptures, remember that it was the first artist who used this material in the world. They also carry their signature the hydraulic sculptures, since, as a precursor, it introduced water as an essential element of their works (1949). In the field of creation Kosice It is also the father of the famous and utopian “Ciudad Hidroespacial” (1971), a set of works that, as he explained, had already anticipated in the magazine “Arturo”, when in 1944 he said: “Man has not to end on earth.” The space is “a place where anguish, the evil that man suffers, is eradicated forever,” he added. Kosice’s beautiful spacecraft, with their blue lights, are the vehicles that lead to the meeting of happiness.

The artist’s grandson says that after selling those 50 pieces, he had seven years very prolific, he made several pieces in addition to books, sculptures, paintings, exhibitions. “The ‘Hidroespacial Ciudad‘Complete is nowhere, because many works are really! The one that has the most is the Houston Museum, then there is the Kosice Museum, there are also pieces of the “Ciudad Hidroespacial” In the Pompidou Center, in the National Museum of Fine Arts, in the Malba, the Planetarium and in some private collections, ”he adds Max Pérez Fallik.

Kosice It was an advance. Inspired by the renovating air of the avant -garde, designed light structures where he used – for the first time in the neon world. Since 1949 water is an essential element of its hydraulic sculptures. Then the dream of the “hydro -spatial city” would come. Pérez Fallik evokes Kosice’s speech: “After consulting astrophysics, he proposed to release the energy contained in the water molecules. Separating the two hydrogen atoms from the oxygen atom by means of a process called electrolysis, oxygen could be used to breathe in large heights, and hydrogen as a fuel source in a cold fission machine. ”

The Pompidou sample meant consecration. And with pride, the artist himself told the details: “In 2013, the curator of ‘Modernités Plurielles, 1905-1970’, Camille Morineau dedicated a huge room and placed me on a star paper.” In the exhaustive book “Gyula Kosice” Posted by the Pompidou Center, Morineau It emphasizes that, in the 40s, Buenos Aires became “In the nerve center of the Renaissance of Art in Latin America.” Then, the French curator observes that today “We must see in Kosice an essential cultural actor of the international scenario. […] Kosice has not stopped promoting Madí art and Argentine art outside its national territory, both introducing the most current trends. ”

Meanwhile, in the Planetarium, the success of the projection is largely due to the work of the Digital Laboratory that since 2020 directs Felipe Duránwho clarifies: “We use several visual techniques and artificial intelligence for music, Kosice’s works and the recreation of his voice, in addition to the 360 ​​filming of the malba sample. We work together with the Planetarium team and use its own software to integrate the movie right there. We have been accompanying Kosice and the digitalization of his work since 2019. Actually, we accompanied him to Max in the creation of the educational program that carried out from the “Hidroespacial City”.