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.
Luis Enrique Pérez Oramas considers Gego the most important artist in Venezuelan modern art. In his opinion, her work broke through the conventional limits and was situated at the margin of the national art scene as “a work of critical importance.” The curator believes Gego understood that the stripped-down structure of the reticulum did not just provide support; but it instead generated a whole new aesthetic. According to Pérez Oramas, the artist’s best work was her reticular structures, in which she focused on empty space and the precarious equilibria as well as the generative effectiveness of the “rhizome.” Barely visible, her subtle meshes open the way to light, transparency, and to their antithesis—faint shadows.
This text was written by the Venezuelan curator and critic, Luis Enrique Pérez Oramas (b. 1960) about Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan visual artist originally from Germany. It could be said that this text launched an abundant and fertile body of criticism focused on Gego’s artwork at the same time it laid the foundation for Pérez Oramas’s line of discussion. Examples are the contrast between the development of her work and that of the Kinetic artists, the reticular structure as the center of Gego’s particular interest, and the criticism implied by the development of her work in the artistic milieu in which she was working. In subsequent years, the critic would specifically examine all these themes in depth. This article was written at the time of the Gego’s death in Caracas, on September 17, 1994.