Ferdinand Fallik, who later adopted the stage name Gyula Kosice as a tribute to his hometown, was born into an ethnic Hungarian family in Košice, Czechoslovakia on 26 April 1924.

He lived there with his parents and two brothers until he was 4 years, at which time his family emigrated to Argentina aboard the Royal Mail Lines (RMS) Alcanatara steamship in 1928.

As a child and a young adult, Kosice was an avid reader and frequently visited popular libraries where he discovered the inventions of Leonardo da Vinci.

He continued to create Madí paintings and sculptures, experimenting with new materials including stainless steel, aluminum, bronze, and plexiglass.

One of his most notable works, Hydrospatial City, was created to propose an antigravity solution to Earth's large and growing human population and is the subject of many of his publications.

[5] In 1944, he published the journal Arturo with Carmelo Arden Quin, Rhod Rothfuss, Joaquín Torres-García, Tomás Maldonado, and Lidy Prati.

The first was known as the Asociación Arte Concreto-Invención, which was led by Tomás Maldonado, and consisted of Manuel Espinosa, Lidy Prati, Enio Iommi, Alfredo Hilto and Raúl Lozza along with four of his brothers.

The main concern of this group was to reach out beyond the art community and to encourage people in all creative disciplines (such as dancers, architects, and actors) to carry the "Madí spirit".

[8] They did this by including articles in their published journals on poems written by others, general art theories, reports on musical events, photos of other exhibitions, and a "Madí Dictionary".

[7] In the late 1950s, Gyula Kosice started to create his motorized "hydrokinetic" sculptures that incorporated the use of neon light, plexiglas, aluminum, and water.

The use of constantly shifting water combined with moving light was what created the feeling of instability as these elements were always in perpetual motion.

Translated as "Hydrolight Columns", this work was made of plastic hemispherical containers that held cycling water inside.

As the water and air bubbles constantly moved, this work (and others like it) appeared to "defy the laws of gravity", which made the viewer feel unstable.

[14] In the 1970s, Kosice started the Ciudad Hidroespacial project that proposed creating a classless society by building an entirely new city.

He felt that contemporary architecture was centered around functionality for the powerful people in society more than anything else, and that this focus made the oppression of the lower class in Argentina much worse.

[9] In 2025, the Pérez Art Museum Miami, Florida, is showcasing Gyula Kosice: Intergalactic, a solo presentation celebrating the artist's 100th birthday.