Graphic Design in Museum of Fine Arts Houston Three Dimensional Graphic Design
May 2016. Autobiography of a Line. Dominique Lévy Gallery. London.
The exhibition "Gego: Autobiography of a Line" opened on May 25th in Dominique Lévy Gallery in London. This was the second of a pair of exhibitions celebrating the legacy of the German-born Venezuelan artista Gego (Gertrud Goldschmidt) [1912 – 1994]. Organized in collaboration with Fundación Gego, this is the first individual exhibition of the artist in London. It includes a choice of her piece of work, and in particular, three awe-inspiring sculptures fabricated in the 70s, which incarnate the palpable sensation of geometry and the spatial play which characterizes Gego's piece of work. In that location is also a selection of drawings in ink on newspaper and later works which explicit the relation between drawing and sculpture, such as Dibujos sin papel (Drawings without newspaper), Watercolors and Weavings. The exhibition includes loans from the Museu d'Art Contemporani de Barcelona (MACBA), the Museum of Fine Arts Houston (MFAH) and Fundación Gego. The exhibition airtight on August 19th, 2016.
March 2016. Revolution in the Making: Abstruse Sculpture by Women, 1947 – 2016.
Revolution in the Making: Abstruse Sculpture by Women, 1947 – 2016, an exhibition made in the recently opened edifice of Hauser, Wirth & Schimmel gallery in Los Angeles, brought together the works of 34 women artists, among whom Gego was included. http://www.hauserwirthschimmel.com/exhibitions/by
Oct 2015. Gego in Dominique Lévy Gallery. New York.
The perstigious Dominique Lévy Gallery in New York presented the public with a selection of works by GEGO, curated by Jesús Fuenmayor and Sandra Antelo-Suárez.
A special publication was edited for the occasion, with texts by the curators and critics of Latin American art Sandra Antelo-Suárez and Jesús Fuenmayor and past Chus Martínez, director of the Constitute of Art of the Academy of Arts and Blueprint (Hochschule für Gestaltung und Kunst) in Basel, Switzerland, and Kaira Cabañas, art critic and historian. It likewise includes the unpublished poem "Gego", written by the poet and visual creative person Anne Tardos.
The exhibition showed some seventy works belonging to public and individual collections, lent for the occasion. It is important to signal out the series Chorros (Streams), belonging to the Fundación de Museos Nacionales – Museum of Barquisimeto, which was exhibited together with other pieces from the aforementioned serial in an assembly which reminded of the installation made in 1971 by the artist herself at the Betty Parson Gallery in New York. The Chorros are a series of structures fabricated of metal rods made past Gego in 1970-71 which hang vertically from the ceiling to the basis resembling waterfalls. Pieces from other series, such as Drawings without paper, Inks, Weavings and Bichitos (Little Beasts), were too shown, coming from other prestigious collections such as Museum of Fine Arts Houston, Mercantil Collection, Cisneros- Fontanals, Fundación Gego and other individual collectors.
June 2015. Mundo Nenia. Gerd Leufert 1914-2014. Oficina Nº one.
The exhibition was researched and curated by Carmen Alicia Di Pasquale, who refers to the artist in the following terms: "Leufert presents himself, more tan as an eclectic artista or a designer with creative ambitions, as a visual thinker, someone who reflecte don his time and his life as an emigrant, from and with the epitome, even if this does not translate into a realistic or social discourse, simply rather into the enquiry of essential and non necessarily axiomatic structures and forms."
"Mundo Nenia. Gerd Leufert 1914-2014" is the effect of a process of research which included, as part of the simple, all the nenias that had been published past their creator in print and events likewise as those not published by him, which in turn belong to the grouping of those provided by designer Álvaro Sotillo from the maquette of an unpublished volume and those establish in the Gerd Leufert archive.
An installation conceived by Álvaro Sotillo, with 8 unpublished nenias cut out in baquelite equally well as 12 photographs belonging to the series "Las Nenias de Gerd Leufert" by Ricardo Armas, was exhibited in Building 6 of Oficina #one.
In Building 9 "Archivo Nenia 2015. Una reconstrucción" was exhibited. This was fabricated up of 162 figures fatigued on digital platform under the direction of Gabriela Fontanillas and then cut out in vinyl on mdf and melamine support and marked with a corpus of some 2 thousand referential data.
Gerd Leufert used the name "Nenias" to identify a serial of figures he started to develop as a theme in the early on sixties. The conventional meaning of the term comes from music, where information technology refers to certain very sometime songs or lamentations which belonged to funerary rites. This remains as a trace of the deeply enigmatic carácter of Leufert'southward visual creations.
The exhibition provided the framework for a series of encounters, conversations, concert and poesy.
July 2014. GEGO IN LEEDS. 3-DIMENSIONAL AND TRANSPARENT.
The Henry Moore Institute, in the British urban center of Leeds, is well known equally a center dedicated to the study, documentary annal and exhibition of sculpture. It is function of the Henry Moore Foundation, created in 1977 by the great British sculptor.
Gego's exhibition made its tertiary and last stop in the HMI. Its managing director, Lisa Lefevbre, one of the curators of the exhibition, explained her special involvement in Gego's oeuvre.
This evidence underlined Gego's visionary approach to sculpture, a term she herself refused to use for her work. In one of her testimonies the artist expressed: "Sculpture, three-dimensional forms of solid material. Never what I make."
The choice of works for this exhibition covered the creative person'southward cosmos of 34 years, from 1957 when she started developing her thoughts on sculpture with the piece of work Vibración en negro (Vibration in blackness). In Lisa Lefevbre's words, this torso of continuous form in black painted aluminum hanging from the ceiling softly responds to the air's movement and distributes its volume through its shadows. The last works are dated 1991, when Gego full-bodied on her Tejeduras (Weavings), interwoven newspaper strips which combine reproductions of her ain works with pages from magazines and cigarette pack strips, and on Bichitos (Little beasts), small format assemblies fabricated from materials available in her immediate surroundings. Between those two points in time Gego created large-scale nets, columns and spheres which filled the galleries, drawings without newspaper likewise equally watercolors, drawings in ink and engravings.
MARCH 2014. GEGO'Due south LINE IN STUTTGART
Kunstmuseum Stuttgart rises in the center of the city since 2005: a cubic concrete structure which hosts an important collection of German and international artists. From March 29 to June 29 it hosted the exhibition Gego. Line as object.
Gego spent her student years in Stuttgart (1932-1938), where she studied and graduated equally an engineer with a specialization in architecture at the Technische Hochschule (nowadays office of the University of Stuttgart). In 1939 she emigrated to Venezuela, where she worked as a teacher and developed her plastic work.
We had the opportunity of visiting the documentary centre of the university, where we were welcomed by its director, Dr. Norbert Becker, who showed us a serial of documents referring to Gego's academic record at the university. He showed us her registration form and explained that the yellowish color referred to her condition as a Jew and the diagonal red strip across it meant that she was a female person pupil. He also showed us images of the building destroyed during WWII.
In her text in the catalogue of the exhibition, Kunstmuseum Stuttgart curator Eva Marina Froitzheim mentions that the artist "makes use of her noesis of Mathematics and her training every bit an architect to develop her geometric forms, exploring the concrete conditions of concrete space in graphic work as well as in sculpture."
The text of the museum's website signals that Gego centers mainly on the line every bit a means of expression, and her work explores the creative relationship between space and the line. It also says that for v decades she worked on the idea of converting the line into an object equally she used it to create planes, volumes and structures of extended nets.
Kunstmuseum Stuttgart conceived this project to present it simultaneously with Luisa Richter's exhibition, too a German language-built-in Venezuelan artist.
JUNE 2014. "LISTONADOS" BY GERD LEUFERT. Sala TAC
This exhibition was presented under the curatorship of Ruth Auerbach. In its preparation she had to uncover pieces which were treasured in individual collections and search in archives and memoirs of people who were close to the artist. Thus she achieved to complete a sample of 43 works which support the artist'due south argumentation on the void foursquare equally a bailiwick of enquiry which led him to the creation of these singular pieces called "Listonados". Aixa Díaz designed a catalogue with text by Ruth Auerbach for the occasion.
NOVEMBER 2013. HAMBURG. HOMECOMING.
Gego was built-in in 1912 in the harbour city of Hamburg. The family abandoned their home on Heilwigstrasse 40 considering of the nazi threat. Her parents and siblings were forced to emigrate. Gego was the last one to leave; she locked the door and threw the central into the Alster river.
At the end of November Hamburg already displays the lights of the Christmas markets surrounding the bay. Nosotros walked to the museum to attend the opening of the exhibition. The Hamburger Kunsthalle received u.s.a. with an enormous billboard featuring an image of Gego, open arms lifted to the skies, which covered the facade.
Simultaneously, the museum presented the piece of work of Eva Hesse, also a Hamburg-built-in artist, well known for her work adult in the United States.
When entering the museum there were posters and signs inviting to the exhibition. We entered the halls and recognized the works. We have seen them many times and the emotion we experience gets stronger every time.
The press briefing started; journalists, writers, art bloggers, critics and next of kin listened to the curators of the exhibition:
"Her fragile objects, structured like rhizomes of metallic and wire, defied the traditional definition of sculpture as a airtight mass and volume. Gego too pursued transparency and lightness in her numerous works on newspaper where she employed lines as objects. Her innovative and experimental approach to sculpture and to "drawings in space" had an important influence on subsequent generations of artists in Latin America, leaving her imprint on gimmicky art beyond Venezuela."
Gego'south relatives and friends visited her former house. The deputy mayoress of Hamburg, Dorothee Stapelfeldt, unveiled a plaque on the wall surrounding the forepart garden which reads:
In this house lived
GERTRUD GOLDSCHMIDT DEHN
Known every bit Gego
From August 1st 1912 until 1939
The artist Gertrud Goldschmidt Dehn, known every bit GEGO, was born on August 1st, 1912, sixth child of the Jewish family unit Goldschmidt. In 1932 she started her studies of Compages at the Technische Hochschule Stuttgart. Considering of the constant menace of the national socialists, Gego emigrated via England to Venezuela, where she started to piece of work as an artist. Her dandy web-like installations were not conceived every bit sculptures but equally drawings in space. On September 17th, 1994 Gego died in Caracas at the age of 82. Nowadays Gego is one of the most renowned artists of Due south America.
TRIBUTE TO GERD LEUFERT ON HIS CENTENNIAL
Fundación Gego, together with other institutions such as Sala TAC, Museo Carlos Cruz Diez, Editorial Exlibris, also as friends similar Javier Aizpurua, Ruth Auerbach, Lourdes Blanco, Álvaro Sotillo, Gabriela Fontanillas and others, commemorated Lithuanian-born creative person Gerd Leufert's 100th birthday. Exhibitions, conferences and publications were some of the activities related to this tribute.
Leufert'southward work, vast and diverse, is characterized past the simplicity of its images and the continuous experimentation with genres, techniques and colour which he adult along his artistic trajectory.
Leufert was the great innovator of graphic design in Venezuela; instructor of several generations of designers, artists and printers. Gego was his special disciple; he stimulated her to beginning out on the path of fine art and taught her the first techniques of graphic expression.
Known as the Begetter of Design in our country, Leufert was the creator of endless emblems, logotypes and typographical fonts. Leufert designed books and art catalogues, and in the 70s Caracas was one of the near advanced capitals of Latin America and the world in matters of design.
GEGO. LINE Every bit OBJECT. Hamburg, Stuttgart, Leeds.
During 2013-2014 Gego'due south oeuvre was shown for the first time in an individual exhibition in Germany and England. A large variety of pieces, inks and watercolors, engravings, weavings, drawings without paper and three-dimensional works of small and awe-inspiring format were exhibited in a advisedly curated exhibition of Gego's creative trajectory.
The exhibition Gego: Line as object was the result of the joint attempt of 3 great museums: Hamburger Kunsthalle, Kunstmuseum Stuttgart and the Henry Moore Institute in Leeds, England. The curators, Brigitte Kolle and Petra Roettig, Eva Marina Froitzheim and Lisa Lefevbre respectively, designed this projection with the support of Fundación Gego in Caracas. It started out on November 29th in Hamburg, connected in March in Stuttgart and ended in Oct 2014 in Leeds.
Source: https://fundaciongego.com/en/author/admin/page/3/
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