Arturo was published in Buenos Aires during the summer of 1944, with Carmelo Arden Quin, Rhod Rothfuss, Gyula Kosice, and Edgar Bayley on the editorial board. The original plan was to publish the magazine four times a year, at the end of each season but, as things turned out, the first issue was also the last. In addition to the articles contributed by the editorial staff, the single issue of Arturo also featured poems by Murilo Mendes (from Brazil), Vicente Huidobro (from Chile), and Joaquín Torres-García (from Uruguay).
Gyula Kosice (1924–2016), an exponent of the visual arts, was a member of the group that launched Arturo magazine. He was also involved in the Arte Concreto — InvenciónMovement, and joined the Arte Madí group in 1946. In 1948, a collection of his works was exhibited at the Salon des Réalités Nouvelles in Paris. As a sculptor he created mobile structures that relied on water, movement, and light.
This particular article has been chosen because it highlights one of the key contributions made by Arturo magazine. It refers to the attempt at renewal that was made by a group in the Río de la Plata region in their desire to break with realism, symbolism, and primitivism and embrace an art of invention that laid the groundwork for the development of avant-garde Concrete art in that part of the world.
