The First Art Newspaper on the Net   Established in 1996 United States Tuesday, September 17, 2019


Dominique Lévy opens exhibition celebrating the legacy of Gego
Gego,Tejedura 91/31, 1991. Printed cardboard, 19 x 13 3/8 inches (48.4 x 33.9 cm) © Fundación Gego.


LONDON.- Dominique Lévy presents Gego: Autobiography of a Line, the second in a pair of exhibitions celebrating the legacy of German-born Venezuelan artist Gego (Gertrud Goldschmidt [1912 – 1994]). Organised in collaboration with the Fundación Gego, Autobiography of a Line is the artist’s first solo exhibition in London, and includes a selection of works spanning her career. Notably, three monumental sculptures made in the 1970s, which embody the palpable sense of entropic geometry and spatial play for which Gego’s work is internationally recognised, will be on view. These sculptures find their parallel in the artist’s towering wire Chorros, which were displayed in the New York exhibition last autumn. Also in the London instalment are a selection of ink drawings on paper and late works that complicate and question the relationship between drawing and sculpture such as Dibujos sin papel (Drawings without paper), Acuarelas (Watercolours), and Tejeduras (Weavings). The exhibition includes loans from the Museu d'Art Contemporani de Barcelona (MACBA), the Museum of Fine Arts, Houston (MFAH), and the Fundación Gego.

Originally from Hamburg, Gego immigrated to Venezuela in 1939 after finishing her training as an architect; she was the last member of her Jewish family to flee Nazi Germany. Physically displaced from her homeland, Gego’s fragmentary wire sculptures reflect this state of separation, using the vocabulary of abstraction to mobilise the gaps between lines, languages, and modes of perception. Throughout a career spanning four decades, Gego continuously rejected the categorisation of her work as part of a particular movement or as comprised of a definitive medium, writing in her notebook, ‘Sculpture: three dimensional forms of solid material. NEVER what I do!’ Like other Jewish-German émigré artists such as Mira Schendel in Săo Paulo and Eva Hesse in New York, Gego refused to participate in pre-established local artistic discourses. Instead, she dedicated herself to an intensive investigation of both the drawn and the sculptural line, frequently defying conventions of linear geometry to introduce a quiet but profound sense of formlessness into her work.

In the 1950s, at the start of her career, Gego worked mainly in watercolour, drawing, printmaking, and handmade books. Among her books is a slim volume titled Autobiografía de una Línea (Autobiography of a Line), which contains a collection of the artist’s minimal etchings from 1965. The marks in this book, from which the exhibitions at Dominique Lévy and their accompanying catalogue, take their name, seem to either converge or branch away from each other depending on the object’s uncertain orientation. In this way, Autobiografía de una Línea is a precursor to the concerns that Gego would continue to engage in her later work. The exhibition features two early works on paper, executed around the same period in 1958 and 1964, which similarly depict a central form made of repeating, parallel marks and lines delicately composed in ink.

In 1969, Gego’s career took a radical turn when she created the first Reticulárea (a combination of the Spanish words for ‘net’ and ‘area’) as a site-specific installation for the Museo de Bellas Artes in Caracas. The woven wire sculptures which comprise this work are remarkable for their expanding and collapsing net-like structures that encompass the entirety of their surrounding space. This meditative and ever-changing environment acts as a metaphor for various social and natural universes of interconnecting beings and ideas. Gego subsequently produced a number of works based on the mesh or matrix, to which she gave the same name. Autobiography of a Line is centred on three largescale sculptures from the 1970s each made up of a wire framework, which either form part of the Reticuláreas or are closely related to them: Columna 71/9 (1971), from a private collection and recently on long-term loan to MACBA; Columna (Reticulárea cuadrada) (1972), which was acquired from the artist shortly after it was made and has been in the same private collection ever since; and Tronco no. 1 (1974), from a private collection. From this important series the artist developed new bodies of work predicated on the same system, including Dibujos sin papel, which have been interpreted as attempts to wrest the three-dimensionality of the Reticuláreas onto a two-dimensional plane. The exhibition will present five Dibujos sin papel, including a large work from 1989 of harmoniously overlapping square gridded structures. These works are flatter than the Reticuláreas, and are hung closer to the wall, thus further challenging the boundaries between the media of drawing and sculpture.

Gego considered the act of line drawing—both on a surface and in space—to be ‘un trabajo meditativo’ (a meditative work), and noted that in these works ‘sometimes the in-between-lines are as important as the line itself.’ The concept of ‘in-between-lines’ can be read doubly as an assessment of the negative space between physical lines and as a meditation on the different technical modes of connection at work in her sculptures and drawings. In this idea the foundation of Gego’s practice—with her fervour for creating connections, breaking them apart, tracing wandering lines, and entwining disparate materials and ideas—comes into focus. By presenting works spanning Gego’s career across two exhibitions in New York and London, Autobiography of a Line seeks to highlight the constancy of these important precepts in her oeuvre and position the artist in an international discourse in which her work remains imminent today.






Today's News

May 25, 2016

Exhibition at the Frick Collection takes a fresh look at Meissen porcelain

Christie's fined over elephant ivory sale

Georgia O'Keeffe Museum acquires rare O'Keeffe painting

Rome launches 500-million-euro SOS for historic sites

India launches probe as insect excrement turns Taj green

Dominique Lévy opens exhibition celebrating the legacy of Gego

Exhibition in Arles brings together 31 paintings by Vincent Van Gogh

Native Americans step up fight over sacred object auctions

L.A. auction house posts strong prices for international works

Exhibition focuses on dialogue between European and British artists

Celebrated historic New Jersey Palisades cliffs estate to be sold at auction

MOCA Jacksonville names curator of collections Ben Thompson as deputy director

Exhibition of works by Robert Bordo and Sam Anderson with Michel Auder on view at Bortolami

Solo exhibition featuring new works by artist Luka Fineisen on view at Galerie Rupert Pfab

A new identity for a project taking shape

David Brooks presents every single part of a used 1976 John Deere 3300 combine harvester in exhibition

First UK solo exhibition of Marco Godoy opens at Copperfield

Exhibition of new works by the emerging Canadian painter Ally McIntyre opens at CNB Gallery

Onderdonk Blue Bonnets bring $103,000, Texas contemporary art steals spotlight at Heritage Auctions

Institute of Contemporary Arts celebrates Italian manufacturing company Olivetti

1895-O $1 MS65+, unseen since issue, tops the Heritage offerings in June Long Beach auction

The Esther Salinas Collection: Fine illustrated classics, fairy tales at auction

Single-owner collection leads Skinner's June Shaker Auction

Cally Spooner transforms New Museum's Lobby Gallery through her site-specific installation

Most Popular Last Seven Days



1.- Holocaust 'masterpiece' causes uproar at Venice film festival

2.- To be unveiled at Sotheby's: One of the greatest collections of Orientalist paintings ever assembled

3.- Bender Gallery features paintings by up and coming Chicago artist Michael Hedges

4.- Lévy Gorvy exhibits new and historic works by French master in his centenary year

5.- Artificial Intelligence as good as Mahler? Austrian orchestra performs symphony with twist

6.- Fascinating new exhibition explores enduring artistic bond between Scotland and Italy

7.- Exhibition explores the process of Japanese-style woodblock production

8.- Robert Frank, photographer of America's underbelly, dead at 94

9.- The truth behind the legend of patriot Paul Revere revealed in a new exhibition at New-York Historical Society

10.- Hitler bust found in cellar of French Senate



Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful