Born in 1924. Argentine writer, fine artist, poet and theorist; is one of the pioneers of the avant-garde kinetic and light art. Co-founder of the Arthur magazine in 1944. Creator of Royi, first articulated and mobile sculpture, 1944. Co-founder of Concrete Art - Invention, 1945. Organizer of the 2 exhibitions of Concrete Art-Invention at the house of Pichon-Rivera. And then at Grete Stern’s house in 1945. Publication of the platelet Invention (mobile sculptures, theory and poems), 1945.
Founder of the Madí Movement of Art, 1946. Author of the Madí Manifesto, 1946. Appearance of eight issues of the Art Madí Universal journal (editor). Creation of light sculptures, 1946, with neon gas, world wide first used. Art Exposition Madí, to represent Argentina at the Salon des Réalités Nouvelles, Paris, 1948.
Creator of the hydraulic sculpture uses water as an essential element of his works, 1958. For the first time, water is used at international level. Conducted the retrospective exhibition "100 works of Kosice, a precursor” at the Di Tella Institute (1968) and a retrospective exhibition at the Museo Nacional de Bellas Artes, (1991) Buenos Aires.
He has published over 15 books of poetry and essays. Done over 34 individual exhibitions and over 600 group exhibitions.
Father of the Hydro-spatial City already advocated in Arthur magazine ( "The man has not finished on Earth"). He received the Career Award in Visual Arts awarded by the National Endowment for the Arts, 1994. Tribute to Kosice, Modern Art Museum of Buenos Aires, 1994. He was distinguished "Chevalier des Arts et des Lettres" by the government of France in 1989. Distinguished citizen of the City of Buenos Aires in 1997. Currently represents Latin America at the "Big Bang" exhibition at the Georges Pompidou Center in France and at the 3rd Biennial of Valencia “Water I’m not without you" He has made monumental sculptures, hydro-spatial tours, hydro walls etc.
His works appear in museums and private collections in Argentina, Latin America, United States, Europe and Asia.
Vision of art
1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.
My career in art has multifaceted connotations of difficult choices. From Royi, articulated and mobile sculpture, 1944, to the Madi structures of neon gas and water as first starring elements in fine arts, nationally and internationally. My kinetic light works, urban art, my proposal of the Hydro-spatial city, my digital works, Irvé, my fight for the delivery of volumes to the space, do not deny my earlier statements. "Arthur" 1994 and then the chip "Invention", 1945, which emerged from these postulates: No Expression Representation or Significance of man will conquer the multidimensional space. Jubilation. Denial of all melancholy. The man has not finished on earth. I could not choose one work to represent me.
2. In general terms, how would you suggest to approach your work?
In depth and lightness.
3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?
Through the connection with the constructive abstract art: Moholy Nagy - Gabo - Pevsner - the Bauhaus - Mondrian - Van Doesburg - Malevitch.
4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why
"Anticipate" at the Recoleta Cultural Centre 1999. Because I was the speaker. Regarding previous references "100 works of Kosice, a precursor” at the Di Tella Institute, 1968. The exhibition "Retrospective 1944/1990" MNBA and recently my "Big Bang" exhibition at the George Pompidou Center in Paris.
5. What tendencies or groupings from common elements do you see in argentine art of the last ten or fifteen years?
The current trends are a historic setback. Banal art, irony, the elephant poop, the use of human skin, the exposure of animals locked in cages or in formol, twisted objects to the tun-tun, where "anything goes", do not stand any critical analysis. I had the opportunity to see the extraordinary "Great Glass" by Marcel Duchamp at the Moderna Museet, Stockholm. The "ready-mades" and the "urine" mark a clear delineation of trends. So far, the irreverent responses between entropy and spontaneity. Finally, art is the currency of the absolute. It will take a time for one to be considered an inhabitant of the Hydro-spatial city and some more to develop the passionate vocation of being an artist with postulates of the future. Humanity is close to its second Renaissance. Its biggest challenge