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.
Lorena González sees similarities between works by Gego and those by the Venezuelan writer Antonia Palacios, in that they are both based on a noticeable sense of temporality. According to González, “the line”—the fundamental element in Gego’s work—is constantly oscillating throughout Gego’s career (described by González in all its phases) to create a material weaving of time. Similarly, Palacios’ writing always seeks to capture time with words, fragments of which appear in space, as in Crónicas de las horas [Chronicles of the Hours], the essay she published in the mid-1960s.
In this essay about the German-born Venezuelan visual artist Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan curator Lorena González suggests that there are parallels with literature that can be a means to understanding Gego’s work. This is not an unusual strategy for critics of Gego’s work, who have frequently turned to literature to find a variety of perspectives and to highlight recent nuances in her work (Cf. Yve-Alain Bois, “De la tela de araña” [From the Spider’s Web], 2006, among others). Conversely, Gego’s work has also been the inspiration for literary works, as in the case of Alfredo Silva Estrada and his Variaciones sobre Reticuláreas [Variations on Reticuláreas] (1979). However, this essay considers Gego’s work as the writing of time, and compares it to the work of the Venezuelan writer Antonia Palacios (1915–2001).