gyula kosice (21 Ergebnisse)

Hardcover. Zustand: As New. No Jacket. Pages are clean and are not marred by notes or folds of any kind. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Brand New. bilingual edition. 1724 pages. 9.25x6.25x0.75 inches. In Stock.

blanda. Zustand: New. Zustand des Schutzumschlags: Nuevo. "Magazine "Arturo" was published in the year 1944. One only number was enough then to transform it into an inescapable reference in the debates of art and poetry" (Our translation) --Verso Cover.

Stiff Wrappers. Zustand: Fine Condition. 158 pp. Text is in Spanish. Index. Book.

Rustica editorial ilustrada. Zustand: Buen estado. Libro.

blanda. Zustand: New. Zustand des Schutzumschlags: Excelente. Gyula Kosice. Includes Bibliographical References (pages 102-103).

Zustand: As New.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: New.

Paperback. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Encuadernación de tapa blanda. Zustand: Muy bien. 158 pp. Ejemplar firmado a mano por el autor. Firmado por el autor.

Hardcover. Zustand: Gut. 1a.ed. 235x205 mm. Erste Auflage, 130 p., Cartoné. Sprache: Spanisch, Buen estado. Cubiertas: algo fatigadas en los cantos, con leves roces.Interiores: hojas ligeramente amarillentas. USADO / GEBRAUCHT / USED. Ferdinand Fallik, conocido por su nombre artístico Gyula Kosice (Kosice, Checoslovaquia; 1924 - Buenos Aires, Argentina; 2016) fue un escultor, teórico y poeta argentino nacido en la desaparecida Checoslovaquia, cofundador del movimiento Madí, considerado uno de los precursores mundiales del arte cinético y lumínico. [Gyula Kosice+Geocultura de la Europa de hoy+Géoculture de l'Europe d'aujourd'hui+arte+historia del arte+arte abstracto+arte argentino+ensayosmovimiento Madí+arte cinético]. ** 10% DESCUENTO/RABATT/DISCOUNT PRIMAVERA * excl. New German Books * * * * 37,80 (original price 42,00) **.

Zustand: leido.

Encuadernación de tapa blanda. Zustand: Muy bien. 1ª Edición. Prólogo de Alberto Hidalgo. 69 pp. Rústica con solapas. 19,4 x 14,7 cm.

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.

Buenos Aires : Ediciones Losange, 1959. Un volume 20,5x23,5cm cartonné sous couverture imprimée et illustrée en deux tons, 132 pages sur papier couché abondamment illustrées en noir. Dos légèrement frotté sinon bon état. Edition originale bilingue espagnol et français. Passionnant tour d'horizon de l'art concret au moment de sa reconnaissance internationale. De Arp à Vasarely en passant par Denise René, mais aussi Lucio Fontana que l'artiste et ici auteur Gyula Kosice présente suite à une série d'entretiens réalisés dans les années 1950. Livres.

Buenos Aires: Arte Madí, 1955. Octavo (20.2 × 16.5 cm). Original pictorial wrappers with a reproduction of a photogram by Guillermo Adolfo Gutierrez; 138 pp. printed on brown wrapping paper and white art paper with numerous photographic portraits of the featured Madí members. Title page with handwritten dedication by Gyula Kosice to Manuel Álvarez (1923-2013, editor of the Argentinian art magazine "Arte Nuevo"). Wrappers worn, with front wrapper nearly detached; overall signs of wear; text toned; still about good. The movement made its first public appearance in the art world in 1944 with the journal "Arturo", which had its own unique program, although only one issue was published. The central figures of this new movement in Latin America were Gyula Kosice (1924-1916), Carmelo Arden Quin (1913-2010), and Rhod Rothfuss (1920-1969). The group's declared aim was not only to overcome expressionist, realistic, and romantic formal languages, but also, in the spirit of Concrete Art, to abandon any form of representation - the works should neither represent nor express anything. However, the Argentinians broke new ground. Characteristic for them was, of all things, the negation of the rectangular frame, which not only posed no problem for the continental representatives of this movement, but also fitted in well with their program of (mechanical) standardization of art and everyday life. The rectangular frame was virtually pars pro toto for the striving for typification of individual elements in art. (On this and the following: Perazzo, Nelly, and William Schwaller. "Arte Madí." Grove Art Online. 2003; Accessed 5 Jul. 2024.) However, the Argentines saw the right-angled frame as a contradiction to their efforts to banish all representation from art. They recognized in the right angles of the frame strips the art theory of the early modern period, which defined the picture as "una finestra aperta" (an open window). Rothfuss contrasted Leon Battista Alberti's "finestra aperta" with the "marco recortado" ("structured frame"), which was, as it were, nestled against the irregular, polygonal, and geometric compositions. The Argentinians were thus a decade ahead of the North American abstract artists. Moreover, Ko?ice was a pioneer in the use of new industrial materials such as Plexiglas and neon light. Following disagreements within the group surrounding the "Arturo" project, part of the group split off and founded the "Asociación Arte Concreto - Invención" (Association of Concrete Art and Invention). The remaining artists, including Rothfuss, Ko?ice and the composer Estéban Eitler (1913-1960), adopted the name "Madí", a neologism similar to "Dada". Some believe it to be an abbreviation for "Movimiento de Arte de Invención". The group first became visible in Buenos Aires in June 1946, when they announced their solo exhibitions with programmatic flyers. The first large group exhibition with manifestos, paintings, sculptures, poems and architectural models as well as music and dance performances took place just a few weeks later in August of the same year. As early as 1948, the group was also able to present itself to the European public at the "Salon des réalités nouvelles" in Paris, after Arden Quin had emigrated to Paris. Even though Argentinian Concrete Art went its own way, the movement was still linked to the continental avant-gardes. One of her comrades-in-arms, for example, was the photographer Grete Stern, who had emigrated from Germany, studied in Walter Peterhans' class in Dessau and Berlin on the recommendation of Otto Umbehr until the Bauhaus was closed, and then founded the famous photo studio "ringl + pit" with her fellow student Ellen Auerbach. However, Argentinian Concrete Art was not only influenced by the European avant-gardes, but also played a decisive role in shaping them. One of the initiators of "Arturo" and co-founder of the Madí counter-project "Asociación Arte Concreto-Invención", the painter and designer Tomás Maldonado (1922-2018), was appointed by Max Bill to the "Ulmer Hochschule für Gestaltung" (which inherited the Bauhaus) and was ultimately its rector. In Ulm, he belonged to a group such as Otl Aicher, who called for a closer connection between design, science and technology. After his time in Ulm he worked for the pioneering company "Olivetti", where he designed icons for data processing. Today, he is considered a key and leading figure of design culture in Italy. (AKL LXXXVI, 2015, 458.).

Ediciones Madí, Buenos Aires, (1952). In-8 broché, 69 pp., couverture à rabat illustrée (couverture décollée). / Octavilla, 69 pp., tapa blanda con solapas, illustrada (tapa despegada). Edition originale. / Edición original, con un prologo de Albert Hidalgo. * Voir photographie(s) / See the picture(s). * Membre du SLAM et de la LILA / ILAB Member. La librairie est ouverte du lundi au vendredi de 14h à 19h. Merci de nous prévenir avant de passer,certains de nos livres étant entreposés dans une réserve.

(16) pp. Small 4to. Orig. wrappers, stapled. Edition originale. One of 500 copies (besides XX h.c.). With ms. presentation by the author Al Dr. Oscar Larrauri toda la amistad de Kosice" on title. The Slovak born Argentinian artist Kosice (19242016) was as well a poet as a kynetic artist. Fine copy.

Zustand: Near Fine. [Buenos Aires]: [Ediciones Anzilotti], [1972]. First Edition Limited to 2000 copies. Slim oblong octavo (17x25.5cm.); original pictorial wrappers; [32]pp.; illus. throughout. Wrappers very slightly toned along margins, else a Fine example. Exhibition catalog to the Czech-born Argentinian sculptor's space age installation known as the Ciudad Hidroespacial, a series of maquette Plexiglass pods that the designer imagined would be suspended 5000 feet above the earth and powered with the oxygen and hydrogen harnessed from cloud vapor. "The installation combines [Kosice's] critiques of modern functionalist architecture and the human destruction of the environment with his interest in science, technology, and the use of non-traditional materials" (see Hidden Architecture Journal). First conceived more than 25 years earlier, in 1946, the Ciudad could just as easily be dreamed up today.

Zustand: Good. Original photograph (240 x 180). Two paper labels pasted on verso with descriptive text. Some creasing, wrinkling to outer edges. IMPORTANT AND EXTREMELY EARLY PHOTOGRAPHIC RENDITION OF KOSICE'S "HYDROSPATIAL CITY" WHICH HE BEGAN IN 1946. THE TEXT ON THE VERSO IS UNSIGNED BUT CERTAINLY IN THE HAND OF THE ARTIST; THE WORK IS IDENTIFIED BY HIM (IN FRENCH) AND DATED "1946," THE YEAR THAT THE PROJECT WAS CONCEIVED. AS SUCH IT MUST BE AMONG THE VERY FIRST OF THE MAQUETTES OF THE "CIUDAD HIDROESPACIAL." THE PRESENT PHOTOGRAPH SEEMS TO BE UNPUBLISHED, AS DOES THE TEXT OF THE TWO PRINTED LABELS ON THE VERSO. As per the Museum of Fine Arts Houston, which describes the complete finished array of sculptures: "This utopian exploration of space architecture illustrates some of Gyula Kosice's fundamental preoccupations with water and space. Begun in 1946 and completed in 1972, La ciudad hidroespacial (The Hydrospacial City) is the Argentinean artist's most ambitious and longest-running project. By the early 1970s, the project had evolved into multiple sculptures/maquettes that now total 19 three-dimensional space habitats and 7 two-dimensional light boxes coming together in an immersive, single-room installation. "The work has emerged as a monumental, theoretical summary of Kosice's use of innovative materials, light, and acrylic. Although many of the individual components have been exhibited in the past, the MFAH is the only museum in the world to house the complete La ciudad hidroespacial, a fascinating and poetic discourse on the intelligent relationship between civilization and community in the near future." The French text of the two labels on the verso of the present photograph provides information that does not seem to have been published. [Kosice] "is remembered for his innovative contributions to the kinetic art movement in Argentina. He was the first to use neon light and gas, creating nonrepresentational patterns in his sculptures. He created many monumental sculptures, hydrospatial walks, and hydrowalls using these elements." (SOURCE: Barnitz and Frank, Twentieth-Century Art of Latin America (2001), pp. 149-150). Born in Czechoslovakia in 1924 as Ferdinand Fallik, the artist became a naturalized Argentine citizen, changing his name to Kosice after his birthplace. Sculptor, plastic artist, theorist, and poet, Kosice was fundamental in developing concrete art in Argentina and became highly respected internationally. He died in 2016.