gyula kosice dir (1 Ergebnisse)

Encuadernación de tapa blanda. Zustand: Muy bien. Folio. #2 1947. Grete Stern's photomontage work also highlights his affinity with Madí, one of the groups participating in the constructive avant-garde of the 1940s in Argentina. The group formed by Gyula Kosice, Carmelo Arden Quin and Rhod Rothfuss held two exhibitions in 1945, the first at Enrique Pichon-Rivière's house and the second at Stern's, on which occasion she took a group photo of the participants in the exhibition. Grete Stern, trained at the Bauhaus, photographed the work of some of them, and in 1947 published the photomontage Madí in the second issue of the magazine Arte Madí Universal, directed by Kosice. The Madí group was part of the constructive tradition, as was the Asociación Arte Concreto-Invención (AACI), another group in the Buenos Aires inventionist saga derived from the magazine Arturo. Unlike AACI, which emphasized the Russian model in aesthetic and political terms, Madí articulated constructive certainties with destructive, playful aspects and irreverent and unprejudiced gestures inherited from Dada. The installation is based on a photograph of the Plaza de la República: in the foreground there is a huge letter M from the advertising poster for the Movado watch store and, diagonally, the railing of the window where Stern was located. On that line, and following the typographic style of the brand, the photographer painted the other three letters of the word Madí. The huge emblem stands in front of the Obelisco porteño the abstract and geometric structure designed by Alberto Prebisch to commemorate the 400th anniversary of the city marking a local anchorage in the internationalist program of the concrete avant-garde. In different texts or interviews, Kosice attributes himself different degrees of responsibility in the conception and execution of the piece. Also, in some cases, he stated that this M illuminated with neon led him to use this gas for his light sculptures or, conversely, that his interest in this poster was due to the fact that he was already working with it. In any case, the combination of an urban view with typography recalls two previous works by Stern, both from 1937. The first of these is the cover of the book Buenos Aires, by Horacio Coppola, designed by Atilio Rossi. It consists of an aerial view of Buenos Aires on which Stern placed, in false relief, letters cut out of other urban views, forming the name of the city and the book. The other is the photomontage for Campo Gráfico, the magazine directed by Atilio Rossi. In this case, the text Campo Gráfico is located outside the image of the city, while above it are some mobile types that, due to their structure and the shadow they cast, resemble buildings. By appealing to the combination of urban photography with typography, all these works show the integration of communication, mass culture and life in large cities in Sterns conception. This explains his affinity with the Madí group. Stern, as an emigrant trained in interwar Europe and linked to the Bauhaus, was undoubtedly a strong reference for many young Argentine artists. Washington Pereyra T4,p200. WasHol.