The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Venezuelan journalist Teresa Alvarenga interviews fellow Venezuelan contemporary dancer Sonia Sanoja on the occasion of the solo performance Coreogegos to be held in the context of the Gego exhibition at the Museo de Arte Contemporáneo of Caracas on October 9, 1977 at noon. Alvarenga affirms that critics consider Sanoja one of the masters of Latin American dance; her Coreogegos combines the visual language of Gego’s series Chorros [Streams] and Reticuláreas with Sanoja’s art. Alvarenga and Sanoja converse about other experiences in which Sanoja has made use of spaces inhabited by works of visual art, such as her projects with painter and set designer Mercedes Pardo, and in the context of the exhibition of Jesús Soto’s early work at the Denise René gallery in Paris. The conversation also provides information about composers Alfredo del Mónaco, Vladimir Usachevsky, and Yannis Ioannidis.
The exhibition of work by Gego (Gertrud Goldschmidt, 1912–1994) at the Museo de Arte Contemporáneo of Caracas served to reaffirm Gego’s place amongst the great Venezuelan contemporary artists, though her stature had already been recognized when her environmental work Reticulárea (1969) was presented to the Caracas public. This exhibition in 1977 included new works by Gego where her system based on grids and knots was realized in other series: Reticuláreas, Chorros [Streams] and Esferas [Spheres]. Sonia Sanoja’s performance Coreogego was well attended, and received a great deal of attention from the press.Sonia Sanoja was the wife—now the widow—of poet Alfredo Silva Estrada (1933–2009), who published the extensive poem Variaciones sobre Reticuláreas [Variations on Reticuláreas] in 1979, two years after Venezuelan dancer Sanoja presented her performance Coreogegos at the Gego exhibition in the Museo de Arte Contemporáneo of Caracas. Both Alfredo and Sonia were close friends of Gego, and Gerd Leufert (1914-1998), Gego’s companion and a graphic designer and painter considered a pioneer of modern design in Venezuela. The two couples shared creative projects as well. This interview (original in Spanish, English translation by Paulette Pagani) was among the documents selected for publication in the bilingual book Desenredando la red. La Reticulárea de Gego. Una antología de respuestas críticas / Untangling the Web: Gego’s Reticulárea, An Anthology of Critical Response, organized by María Elena Huizi and Ester Crespin, currently in the process of being published by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.