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Gego's spatial poetry arrives in Paris

Gego's spatial poetry arrives in Paris

Posted by Dubraswka Aguilar on February 13, 2014

The work of Venezuelan sculptor Gertrud Goldschmidt (1912-1994), known in the art world as Gego and considered one of the greatest representatives of the Latin American twentieth century art , will be on display in Paris from today until next May 14th.

It is the first retrospective in France dedicated to the artist and architect born in Hamburg, who arrived in Venezuela at the age of 27 in 1939, fleeing the Nazis, will take place at the Maison de l'Amérique Latine and was presented to the press today.

The exhibition will open to the public tomorrow and will represent a step in the discovery in Europe of the delicate and poetic work of the sculptor.

Most of the 41 pieces were provided by the Mercantil Collection Caracas, co-organizer of the exhibition.

Ethereal structures of iron suspended in space from the series "Reticuláreas", delicate "Trunks", "Strings", "Jets", "Bugs" and " Spheres" , her "Tejeduras" or "drawings without paper", were subjected to a first European retrospective in 2006 at the Museum of Contemporary Art of Barcelona (MACBA ).

The group now exhibited in Paris represents the major stages of her work, from her beginnings in the drawing and engraving her creations in three spatial dimensions, or textile works from the last period, when her mobility was reduced.

According to the curator of the exhibition, Tahia Rivero, Gego's work is still little known on that side of the ocean "because she started late" her career, and because at first it was "little known."

Also, having lived in Germany during her youth she didn't have an urgent need to discover Europe as many Latin American artists that are well known today, and who resided in Paris or other European capitals for at least a few years" explained Rivero.

Gego "felt no need of exodus, but, on the contrary, wanted to live in Venezuela," stressed the curator.

For years, Gego, graduated in architecture and engineering at the University of Stuttgart, ruined the workshop design and creation of lamps that she had founded and only after meeting Gerd Leufert in 1952, who would become her second partner, began what it would soon become a prolific artistic activity.


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