Gego 1957-1988 : thinking the line. -- Ostfildern, Alemania : Hatje Cantz Verlag, 2006
Cabañas, Kaira Marie. “Gego's Performative Geometry.” In Gego 1957– 1988: Thinking the line, edited by Nadja Rottner and Peter Weibel, 67–81. Ostfildern, Germany: Hatje Cantz, 2006.
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Curator Kaira Marie Cabañas argues that work by Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin, constitutes a “performative geometry” based on a primordial interest in the act of “making.” The configuration of Gego’s work is capable of undergoing modification on the level of construction and of operation through constant experimentation, whereas Kinetic Art makes use of visual effects, which is its main concern. Cabañas finds Jean-François Lyotard’s notion of “paralogy,” which addresses instability, perturbation, and productive discord, useful in understanding Gego’s work; those concerns run counter to a paradigm that privileges scientific pursuit of absolute truth.
In this text—the main contribution by curator Kaira Marie Cabañas to the study of geometrical work by Gego (Gertrud Goldschmidt, 1912–1994), a Venezuelan artist of German origin— makes use of new conceptions of science and its function, conceptions taken from Jean-François Lyotard and Thomas Kuhn. In this in-depth study, Cabañas compares and contrasts Gego’s work with that of other creators, like [Venezuelan] Kinetic artist Jesús Soto, Brazilian artists Helio Oiticica, Lygia Clark, Mira Schendel, and American artists Sol Lewitt and Eva Hesse.