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.
In this essay, Colombian critic and journalist Álvaro Burgos analyzes the sculptures by Gego, a Venezuelan artist of German origin, included in the exhibition Gego: Esculturas, 1957–1967, held in Colombia. Burgos asserts that Gego’s works form part of the twentieth-century new sculpture movement insofar as they are multiple and non-molded constructions. In Gego’s works, the line is a central element (therefore, their “geometrism”), as is the empty space that gives them an airy and ethereal quality. Burgos also points out the fluid rhythm of the lines and the optical effect—indisputably a form of Kineticism—by means of which the work alters as the viewer changes the position from which he views it.
This text on Gego (Gertrud Goldschmidt, 1912–1994) by Colombian journalist Álvaro Burgos is one of the first critical writings on Gego’s sculptural work, which at that time, formed part of what came to be called her “parallel line” stage. The article was first published in the newspaper, El Siglo (Bogotá, June 18, 1967) on the occasion of Gego’s exhibition in the Colombian capital (Gego: Esculturas, 1957–1967, Bogotá, Biblioteca Luis Ángel Arango, 1967).Many years later, some of the observations briefly discussed in this article would be developed by specialists. An approach to Gego’s work based on Umberto Eco’s notion (formulated in 1962) of “open work” (“airy, liquid and volatile”), as well as the open quality of Gego’s production which allows it to be transformed as the viewer changes position, would form the groundwork for novel later studies by Gego experts. According to Burgos, the qualities of openness and malleability are what make Gego’s work undeniably contemporary.