An out of the ordinary awaits the spectator in The semicircular sky of the Planetarium of Buenos Aires. It is about the projection of “Intergalactic Crossing: The Hidroespacial City of Gyula Kosice”a film inspired by the sculptural and poetic work of one of the most important Argentine artists.
Kosice, who was born in Czechoslovakia in 1924 but lived since the age of 4 in our country (where he died in 2016), he was a painter, sculptor and poet. One of its main projects, “The Hidroespacial City”imagine a possible habitat for humanity in the air, safe from the dangers of the earth. His proposal was a long -term plan, which he developed over the years in diverse works and in texts of poetry and reflection. Malba’s sample of 2024 which celebrated the centenary of his birth was the initial kick of this “intergalactic crossing”, which can be seen until April 27 in the Planetarium.
As described by those who worked on it (The Kosice, Malba, the Uxart Producer Foundation, the Foundation) The piece includes 360 ° recordings, 3D reconstructions, historical records and audiovisual segments made with artificial intelligence. An immense in the celestial territory of the artist, where it is possible to imagine inside the spaces of his future city, flying in infinity.
The artist
“There was a first rain/ I took man’s footprints to space,” Kosice writes in 1940, demonstrating that the sky was present from the first moment in his work, which began in poetry.
Drawing, painting and sculpture were, however, the main field of development of their work. Among the milestones of his professional life is the creation of the Madí Art Movementan avant -garde group of Rioplatense artists who proposed to release the creativity of any external support. The movement was a space for theoretical reflection on art, a practice that Kosice maintained throughout his life and writings.
In the field of production, he pioneered the creation of articulated works, with the participation of the public and in the use of materials such as Neon gas and later, water, plastic and light. His outstanding kinetic works are currently part of important collections in the world such as that of the Pompidou Center and the Museum of Fine Arts of Houston.
The idea of the “Hidroespacial City”, perhaps, the most important chapter of his work, appears for the first time in the ’40s. The film that exhibits the planetarium, precisely, describes in detail the various aspects of this exciting Kosice project.
“The germ of ‘The HydroSpacial City’ is already in a text published in Arturo magazine in 1944, where the phrase says: ‘Man has not to end on earth’. This was 25 years before the arrival of humanity to the moon. He was already beginning to think what kind of housing projection was the man. In the 1950s he began to systematize this idea. And during the 1960s it produces models, that is, it initiates a concrete proposal of this future city model, ”he explains to News Max Pérez Fallik, his grandson, member of the Kosice Foundation and coordinator of the Malba Education Department.
In 1971, Kosice finally dedicated an entire exhibition to “the HydroSpacial City” that becomes his most recognized work, although he never dedicated himself exclusively to him. “He was a super prolific artist. But the intergalactic city was the work that was most dedicated, because in addition to models he made photomontages, sculptures with lights, drawings, many writings and many exhibitions, ”says Pérez Fallik.
The growing concern at that time for overpopulation was behind the reflections and developments of Kosice. “Thus it comes to the conclusion that the sky, at the height that the planes fly, or even lower, 1000 or 1500 meters above sea level, it is a huge space, much larger than the surface of the earth and practically unoccupied. Then he designs this city that would fly permanently. It was about living, being and being in the air. And it calls it ‘The HydroSpacial City’, because the source of energy was going to be water. At first he plans the city inside the stratosphere, but in later texts he already thinks about the atmosphere, ”describes Pérez Fallik.
In the “Manifesto of the HydroSpacial City”, of 1971, Kosice details the philosophy behind the project, but already in the ’40 he advanced some characteristics of the architecture I imagined. “A mobile architecture, movable, transparent, in contact with its atmosphere, which would not have works of art. Art would dissolve in the house. That is, we would live ‘in’ art and not ‘with’ art. This develops in a variety of texts over almost 70 years. When in the Fundacón we began to process his writings after his death, we found unpublished texts and also sketches and diagrams of something he called ‘Research Center of the HydroSpacial City’ where it is seen that it really wanted it to be a real project and not only a work of art”.
Over time, concern for the environment joined Kosice’s reasons to continue perfecting his life plan in space. With great success, the “Intergalactic Crossing” of the Planetarium imagines the “Hidroespacial City” growing to the compass of the new interest in populating other planets in the universe. Mars or the Moon are the objective of today’s developers, an illusion that would surely have fed the imagination of Gyula Kosice.
Seeing the work of the artist projected in the planetarium Dome of the universe.
Schedules
Saturdays and Sundays 7pm
Wednesday 13 and 5 p.m.
Price: $ 3,000 residents / $ 6,000 non -residents / Free Wednesday with prior reservation
