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.
Roberto Guevara reviews the work that Gego presented at the exhibition, Gego: Esculturas. 1957–1967 [Gego: Sculpture, 1957–1967] (Caracas: Galería Conkright, 1967). Guevara states that the exhibition is clear and convincing proof of the coherence and individuality of Gego’s work. In particular, he singles out the iron lines and the transparency created by the lines in their modulation and mutation of space. The critic claims to see conceptual rigor, freedom, and spontaneity in Gego’s work.
The exhibition Gego: Esculturas. 1957-1967 [Gego: Sculpture, 1957–1967] (1967), reviewed here by the Venezuelan critic and curator Roberto Guevara, included three-dimensional works from among the earliest works by the German-born Venezuelan artist Gego (Gertrud Goldschmidt, 1912–1994). These works were created with rigid materials, usually iron rods, and exhibited a strong sense of geometrical experimentation based on a system of parallel lines. The exhibition was shown later that year in Colombia (at the Luis Ángel Arango Library in Bogotá).
Roberto Guevara (1932–1998) was one of the very first critics to study Gego’s work, and he wrote about her virtually throughout the rest of her career. This is one of his earliest articles about her work. He proposed several key terms for aspects of her work, and in fact coined the name Reticulárea (1969) for her signature work. Guevara was also responsible for showing Gego’s work at the São Paulo Biennial in 1996, which was an extremely important step in her exposure on the international stage.