During World War II, the fluid cultural exchanges between Europe and Latin America came to a halt, which made artists turn their attention towards their more immediate context. In the Rio de la Plata region (Argentina and Uruguay), a large group of abstract artists drew inspiration from the work of Joaquín Torres-García and European Concrete art of the 1930s. Relatively isolated from Europe, artists adopted an experimental attitude to producing art made with concrete visual elements such as shapes, lines, and colors. Eventually, these artists coalesced into two main groups: the Asociación de Arte Concreto-Invención [Association of Concrete Art and Invention] and Madí. In general terms, the members of the Asociación followed a more rigorous, systematic method to testing the use of shaped canvases and geometric compositions. On the other hand, Madí artists favored a more interdisciplinary, experimental approach to Concrete art, adopting a rebellious attitude toward forms and materials that sometimes brought them closer to Dada art.
Kosice, Czechoslovakia (Slovakia), 1924 - 2016, Buenos Aires, Argentina
Obra articulada y móvil en bronce [Articulated and Mobile Work in Bronze]
73 cm x 35 cm x 25 cm (28 3/4 in. x 13 3/4 in. x 9 13/16 in.)
Gift of the artist, 2007
Gyula Kosice was a pioneer of Concrete and Kinetic art. In the late 1940s, he co-founded Madí, whose experimental approach led him to use unorthodox materials, such as metal slats, neon lights, and Plexiglas. He wanted to engage the public in playful and dynamic ways. For example, "Obra articulada y móvil en bronce" has no predetermined shape. The flat bronze slats are riveted at joints so they can be pivoted in various directions, thereby generating any number of potential forms.
Untitled, 1929-1930 (detail)
Watercolor over pencil on paper mounted on cardboard
The Blanton Museum of Art, The University of Texas at Austin
Gift of John and Barbara Duncan, 1971