请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉介绍格戈对“líneas paralelas”（平行线）的探索。

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Geaninne Gutiérrez-Guimarães: 大约在50年代末、60年代初，格戈在描绘风景、人物、建筑等主题时，渐渐开始摆脱传统范式。她对被她称为平行线的探索，在本质上植根于几何学。

Pablo León de la Barra: 简单来说，这些素描是由平行线和重复的线条所构成的，而人物是通过断开这些线条来画出的。她的作品在掌握几何学的同时，也允许自己摆脱几何学的限制。

Geaninne Gutiérrez-Guimarães: 她开始使用当时可用的工业材料，因为委内瑞拉正在进行现代化，对吧？所以她采用了铝、青铜和钢。

如果我们想想本展中的一件早期雕塑，创作于1959年的一个球体，在球形结构中交错排列着沉重的管状线条，但同时被线条打断的平面也呈现出一种视错觉。这些线条元素之间的空间因而变得与线条同样重要。当您经过或绕过它时，会体验到这件作品带来的震撼。

Pablo León de la Barra: 她发现借助相互重叠的平行线产生的视差效应，当您围着雕塑走动或凝视素描时，素描和雕塑似乎都在动。我认为这是她的艺术实践中至关重要的一环：为金属注入生命力，让雕塑变得栩栩如生。

Gego_Measuring Infinity

Exhibition Website

圆形大厅2层：平行线（1957–1968年）

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈的艺术实践的起源。 

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Geaninne Gutiérrez-Guimarães: 格戈的故事很重要，我们需要了解。我们知道她出生在汉堡，后来逃离纳粹德国变成难民。她在委内瑞拉流离失所，将近三十岁时，重新开始了她的人生。她来自一个非常富裕的犹太家庭。凭着她的建筑和工程学位，她到达委内瑞拉时已经是一名专业人士。

Pablo León de la Barra: 一开始，她不懂当地的语言。她必须适应并成为双语者，素描和线条因此变成了一种交流方式，不是吗？格戈用水彩画出村里的人、房子、景色和风景。

这些早期作品展示了她对具象转变为抽象的初步探索，以及学习掌握她即将在艺术实践中利用的一些技法：蚀刻、印刷、纸上线条的转移和重复。

Geaninne Gutiérrez-Guimarães: 她开启了人生的新篇章，全心投入未来四十年的艺术生涯。

Pablo León de la Barra: 就在这一时期，她将她的童年昵称——格戈——作为她的艺名。此后，这位女士，格特鲁德·戈德施密特，变成了艺术家格戈。

圆形大厅1层：早期作品（1953–1960年）

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉介绍在海伊展厅中展出格戈作品的沉浸式环境。 

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Pablo León de la Barra: 格戈的作品是开放的。观众不是在观看挂在墙上的一幅画，而是进入了画中。素描由此变成了空间。

Geaninne Gutiérrez-Guimarães: 她在60年代开始创作立体作品，这些作品超越了委内瑞拉当时非常重要的两个艺术运动：几何抽象，和动态艺术。这些雕塑基于三角形或正方形，非常轻盈、非常线条化、几何、透明。

Pablo León de la Barra: 由纸上素描开始，素描变成雕塑，雕塑变成空间，线条变成空间。 

Geaninne Gutiérrez-Guimarães: 在创作她的代表作《小网区域》时，她想象自己的作品填满1969年贝拉斯艺术博物馆的整个展厅。观众能够置身其间，沉浸在体验中。

Pablo León de la Barra: 这件作品融入了当时的时代精神，许多艺术家，尤其是拉丁美洲的艺术家，都在质疑艺术品的本质，试图超越绘画、素描和雕塑的平面和立体形式，转向令观众身临其境的作品。这件作品挑战单一中心和单一视角的理念。

Geaninne Gutiérrez-Guimarães: 您也成为了作品的一部分，因为您不仅在与作品互动，而且激活了作品。

海伊展厅：衡量无限

请听策展人吉安妮·古铁雷斯-吉马良斯和巴勃罗·莱昂·德拉巴拉讨论格戈的艺术传承。

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Pablo León de la Barra: 这是首次在纽约举行的大型格戈作品回顾展，我们很荣幸能够在古根海姆博物馆举办这场展览。我叫巴勃罗·莱昂·德拉巴拉。我是纽约古根海姆博物馆的拉丁美洲艺术特约策展人。

Geaninne Gutiérrez-Guimarães: 我叫吉安妮·古铁雷斯-吉马良斯，是纽约和毕尔巴鄂古根海姆博物馆的副策展人。我专注于拉丁美洲艺术。

Pablo León de la Barra: 我们的主要使命之一，是为那些被忽略的、但在我们对现代主义的理解中非常重要的人物，尤其是女性艺术家，举办展览。

Geaninne Gutiérrez-Guimarães: 本次展览是德国／委内瑞拉艺术家格戈的大型回顾展。格戈又名格特鲁德·戈德施密特。本次展览将会展出她从50年代到90年代四十多年的艺术创作，几乎布满整个博物馆展厅。我们将会展出她的多个系列的作品，并包括多种媒介：素描、版画、雕塑、纺织品、艺术家书等等。

Pablo León de la Barra: 1994年格戈去世后，她的儿子托马斯和女儿芭芭拉共同创立了格戈基金会。格戈基金会在向更广泛的公众介绍格戈的艺术和知识、保护她的传承和传播她的学问方面影响深远。

Geaninne Gutiérrez-Guimarães: 他们的收藏是本次展览前期研究极为重要的资源。我们得以看到书信原件和建筑图纸，乃至了解格戈一生创作的体量。 

Pablo León de la Barra: 正因他们爱的奉献，我们才能将这些作品展出，让更广泛的公众从格戈的创作中学习，同时也让其经久不衰。

格戈的艺术传承

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Marilee Talkington: This work created by Gego around 1987 is titled "Sin título," or "Untitled." A cream-colored and vertically oriented rectangular weaving, created with a mixture of thread and rope, hangs flush to the white wall behind it. This small, unconventional tapestry is approximately six-and-a-half feet square, and about an inch deep. With its traditional weaving methods, the hanging textile takes on a sculptural dimension.  

The rope is cream-colored, with thin black dashes punctuating its interlaced structure. The rope texture is smooth and uniform. It evokes imagery of rope used for sailing, elegant but practical. The rope snakes left to right, looping past the edges of the woven cloth and creating a new row below the last, all the way down to the bottom edge. The mix of materials pulls in the sides of the rectangle, the tapestry's edges slightly concave. Along these edges, there are loops created by the rope as it snakes from left to right and down. Periodically the rope is obscured with bars of woven fabric, horizontally oriented at different intervals. From a distance, the woven bars look like strips of redacted writing.  

The vertical, or warp, threads of the tapestry are the same cream color as the rope, with a few strands of faint-blue threads appearing sporadically throughout. When the warp threads wrap around the rope, they leave negative space that reveals the wall behind it, creating moments of translucency. In places where the rope abruptly ends and patches of woven fabric emerge, the threads become hectic and messy but still intentional to the craft, like a spider’s web between objects of different heights. The horizontal, or weft, threads are uniformly cream-colored. They tangle and buckle through the uneven striping. 

The two materials beautifully respond to one another like a dance. One material gives and receives tension based on the push and pull of its partner.

Description of Sin título (Untitled), ca. 1987

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Marilee Talkington: Time is captured and collaged in a gallery installation featuring black-and-white vinyl photograph reproductions that are placed directly on the wall in an asymmetrical grouping. The images show Gego’s large-scale environmental installation titled "Reticulárea," loosely translating to “area of nets” in Spanish. This installation was presented in different iterations in Venezuela, the United States, and Germany between 1969 and 1982.  

For clarity, the images will be described in two rows, moving left to right:  

The top-left image, from a presentation at the Museo de Bellas Artes, Caracas, in 1969, shows two slim figures in a bright white gallery. They stand amidst wire sculptures of thin triangular webbing that scale the gallery walls. The repeating equilateral triangles placed next to each other create an effect of different geometric shapes, triangles to diamonds to hexagons, that build upon one another. 

The next image shows a small photo of another interior gallery space at the Museo de Bellas Artes, where some walls are painted dark, and some are light. Triangular wire webbing suspended from the ceiling hangs in the center of the room. Where the walls are dark, the wires appear light. Where the walls are light, the wires appear dark.  

Next, a tightly cropped image shows a detail of a cluster of wire webbing from another iteration of Gego’s "Reticulárea" presented at the Museo de Bellas Artes, Caracas, in 1975. The wires look dark and thickly entangled against a light background. 

Next, a wider shot of the same installation shows the hanging wire sculpture from the "Reticulárea" spilling from the side walls and part of the ceiling onto the gallery floor. Next to the gallery space is a window, showing a glimpse of foliage through the glass and daylight speckling the polished stone floor.  

Next, a small image shows another view of the same interior displaying Gego’s "Reticulárea" and its many webbed wire sculptures.  

The next image shows a close-up of Gego on the left side, seen in profile facing to the right. This image was taken during the installation of the "Reticulárea" at the Galería de Arte Nacional, Caracas, in 1977. Two arms of another person reach down from the upper right of the image to pass her tools. Both figures are in a gallery space with triangular wire webbing behind them. 

Next, an image from the same installation shows three people in a room with ladders installing the "Reticulárea."

The next image from the same installation shows Gego on the left side of the image, taking a step toward the camera. She is installing her "Reticulárea" in a room filled with her immersive wire sculptures.  

Next, an image from the same installation shows a heap of 12 school-aged children grouped on the gallery floor under Gego’s "Reticulárea" hanging from the ceiling and side walls like netting. The children cluster, lounge, sprawl, and dance. 

On the bottom row, the first image shows Gego’s "Reticulárea" at the Art Gallery, Center for Inter-American Relations, now called the Americas Society, in New York in 1969. The immersive installation shows various metal-wire netting made up of triangles hanging from the side walls and part of the ceiling in the center of the room, creating a columnlike effect. The ceiling and walls of the room behind are covered in wire netting, with draped fabric also covering the back walls. 

The next image from the same installation shows Gego on a ladder on the left side of the image, installing her "Reticulárea." She looks right as she inspects some hanging wire netting. Behind her is more wire netting along the gallery walls.

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Description of Reticulárea installation photographs (1969–82)

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Marilee Talkington: This work by Gego from 1966 is titled "Litografia plegada," or "Folded Lithograph." It is a horizontally oriented accordion book about eight inches tall that opens and stretches about eight feet left to right. The folds of the pages are uneven and zigzagging. Peaks and valleys disrupt the viewer’s expectation of the conventional binding technique. The book is mostly monochromatic: white and light grays with long swatches of yellow are printed across the pages.  

The book covers are square and bound in gray cloth. The book is displayed with the inside of the covers flipped open to reveal their exposed white cardboard bodies framed with a raised border. The frame is bound with a light-gray cloth and is lightly peppered with rust-colored stains that bloom around the edges. Both covers have light-gray lettering in all capitals—the only text that appears on the book. The left cover reads: “Gego Litografia Plegada” along the top of the square. This translates to “Gego Folded Lithograph.”  

The right features text in Spanish that translates to: “Original by Gego. This edition consists of twenty numbered copies, two essay proofs, two artist’s proofs and a "bon a tirer" [which is a French term for a printer’s proof] printed by hand by the ‘master printer’ Clifford Smith at the Tamarind Lithography Workshop, Los Angeles. In 1966 it was made on J. Green Paper and bounded by the Schuberth Bookbindery in San Francisco, California. Copy.”  

The book’s pages carefully fold at seemingly random intervals and directions. The pages have a cohesive design printed across their pages, a horizontally oriented abstract landscape in a subtle color palette of whites, creams, and a pale yellow. The background is a uniform eggshell white. At first glance, it appears to be the color of the unbleached paper until you see a border of exposed surface on the top and bottom of the page that is a cool gray.  

On top of the white background are three long broken bands of pale yellow. Moving left to right, the yellow begins at the top left as a circular shape, approximately three inches in diameter, before streaked into two splotchy bands of color. The yellow ends abruptly at a fold and then appears again at the bottom of the composition for the middle two quarters, traversing across six pages. The thick wavering lines disappear behind a folded page and reappear at the top of the composition for the right fourth of the piece. The overall effect might resemble transcripts of Morse code or abstracted musical scoring.  

Printed on top of the image are semitransparent white lines. The lines are smaller and thinner than the yellow splotches but vary in size and orientation. They gather, wiggle, and curve across the long horizontal picture plane like the ghostly remnants of fingerprints. The effect is subtle so that the individual lines do not register from a far distance but rather create the illusion of depth within the flat graphic yellow shapes.

Description of Litografía plegada (Folded Lithograph), 1966

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Marilee Talkington: This work by Gego, titled "Sphere," from 1959, is a spherical structure made of various semicircular panels affixed together, each composed of linear rods made of painted brass and steel. The metal lines of the work crisscross over one another to create an optical effect of motion as the viewer’s position changes in space. 

At its core, the structure stands on the tips of three straight tilted legs that twist around one another. The legs are connected in the middle but somewhat camouflaged by the mass of rods radiating out from the sphere’s core. The connection of each of these elements creates the appearance of a balancing sphere.  

Off of each leg are panels that are made up of a set of straight, thin, parallel rectangular rods, sticking out from the leg perpendicularly. The rods themselves are relatively uniform. They are flat rectangles placed parallel, with a bit of space in between, like the teeth of a comb. The space between each rod varies slightly, giving the illusion that the lines oscillate. The overall effect is an engineering marvel of precarious balance and voluminous shape with very little mass. 

The arches of these semicircular panels are made from various length rods that fan out like a book open at an acute angle on its spine. The rounded edges created by the different lengths of rods of the semicircle panels are jagged and uneven, but culminate with intention and careful calculation to not disrupt the illusion of the sphere. The individual rods, however, are difficult to see depending on the viewer’s angle due to the cacophony of rods. 

New shapes emerge from the overlapping and crisscrossing rods as the viewers position changes in space.

Description of Sphere, 1959

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Marilee Talkington: This work by Gego from 1960 is titled "Movimiento dinámico," or "Dynamic Movement." In this small black-and-white etching, about 15 inches tall by 12 inches wide, the artist has carefully crafted layers of thin lines that generate an optical effect of motion in an abstract composition.  

In the background, the artist has etched a score of thin black vertical parallel lines that seem to waiver. The lines are running up and down the picture plane, except in moments where the artist has left open areas of negative space. The subtle tilted lines are etched with precision, spaced close together.  

If we look at the lines from bottom to top, they align at the base of the etching and are spaced uniformly parallel. As we visually follow the lines upward, they waiver and end at the top at various heights, creating a shallow wave shape. The work captures a playful feeling of improvisation within structured forms. 

While the lines fill up most of the composition, the artist has created moments of rest where the negative space is left alone to breathe. The first is a thin vertical strip on the left border of the composition that culminates in a downward triangular point at the midline of the piece. This triangular point aligns with the second moment of rest, a large floating rectangle placed at the center of the composition at a diagonal. This rectangle tilts upward toward the right. The two negative shapes never touch but their sharp points come close. 

Starting from the top-left corner, a grouping of thin lines that are drawn in the same quality and thickness as the lines in the background drop down into the picture plane at a diagonal to the right. The lines start straight, then they touch the top-left corner of the rectangle. When the lines cross into the rectangle, they transform into gentle curves that loop once in a tight oblong ribbon before traversing upward again.  

Then the lines curve into an upside-down “U” shape that curls up and over the rectangle and onto the vertical lines in the background. Moments of intersecting lines create darker and thicker lines, giving an illusion of dimensionality, before the “U” swoops back around and touches the right side of the rectangle.  

The lines then briefly gather in a narrow grouping and twist together in space before fanning downward. Most of the lines continue past the rectangle and finish their journey at the bottom of the composition, center right. At the same time, others changed direction to the left to touch the rectangle's bottom diagonal edge. They eventually intersect with yet another set of lines that had split off from the top curve of the “U.” 

Although the rectangle could be read as negative space, it is also the star of the show. It interacts with the artist’s lines without being defined by any one line. Its sides are not outlined; rather, its shape is defined by what is and is not drawn there. The rectangle is pivotal to the composition because it is the space into which so much movement gathers.

Description of Movimiento dinámico (Dynamic Movement), 1960

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Marilee Talkington: In "Columna (Reticularea cuadrada)," this sculpture made by Gego in 1972, several layers of large square wire-mesh sheets are loosely stacked and suspended, one following the other to create a rectangular, column-like structure. Combined with gravity and negative space, they come together to create a vertically oriented wire sculpture. 

This wire sculpture is masterful in its simplicity. Four vertical wires attach to the ceiling above the ethereal sculpture in a rectilinear shape. These four vertical wires are the core on which everything is built. The hooks in the ceiling are inconspicuous but reinforced to give the sculpture a hovering effect. The four central wires run through the entire 11-foot height of the sculpture, barely visible underneath the square meshes through which they pierce. They reemerge, with visual clarity, at the bottom of the sculpture, weighted down with black teardrop-shaped lead weights on each end, notably the only solid mass in the entire sculpture.  

The central mass of the sculpture is created using the square-shaped wire meshes, each about four feet by four feet, stacked up along the four vertical support wires. The individual wire grids are made of thin wire that the artist has manually warped and curved so that the layers don’t lay flat. 

Layers and layers of these topographical wire landscapes are unevenly spaced on the vertical axis. The layers do not physically entangle, but it is difficult to separate the individual layers from their constituents visually. This layering tricks the eye into seeing an optical effect of movement: the clarity of the form seemingly disappears and reappears depending on the viewer’s position in space. Although the materials used have a thin and delicate quality, there is a charged tension in the frayed edges and coarse handling of the industrial material.

Description of Columna (Reticulárea cuadrada) (Column [Square Reticulárea]), 1972

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New tracks tagged #Gego: Measuring Infinity