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.
Bélgica Rodríguez analyzes the reasons why Gego’s work has achieved significance. To Rodríguez, what is most important about this work may be found in the constant movement of her drawings in space, free from physical and spiritual boundaries. Starting with a rigorous economy of media, her artistic approach gives rise to constant changes of perception. Her ethereal sculptures challenge the conventional rules for the genre, thus opening the way to future experimentation. The curator concludes that Gego’s work is evidence that art is the “regulating system” of life.
This text by the Venezuelan curator and art historian, Bélgica Rodríguez (b. 1941), was written for the exhibition, Gego. Dibujos, grabados y tejeduras [Gego: Drawings, Prints, and Weavings], held at the Centro Cultural Consolidado (Caracas, 1996). The exhibition was organized two years after the death of the Venezuelan visual artist originally from Germany, Gego (Gertrud Goldschmidt, 1912–1994). It was the first exhibition of Gego’s work held in Venezuela since her death. The sense was that this was why Rodríguez decided to evaluate the significance of the artist’s work. The text is of special interest for its persistent exploration of the work’s experimental nature; [to the curator,] this was one of Gego’s main contributions, and one of the main factors that took the artist’s work to such a high level.