Resumo

CASTRO JULIAN, Alejandro  e  ROSSELL POTAU, Xavier. Traveling with Gego.Traduzido porFernanda Andablo. Intervención (Méx. DF) [online]. 2022, vol.13, n.26, pp.202-221.  Epub 05-Dez-2023. ISSN 2007-249X.  https://doi.org/10.30763/intervencion.274.v2n26.53.2022.

This exhibition review about Gego: Midiendo el infinito (Gego: Measuring Infinity), set up in the Museo Jumex (Mexico), reflects on the world that unfolds behind it: how is the artwork prepared?, how does it get to be exhibited?, what is the journey that it takes before it is opened to the public? Thus, this review presents examples of conservatory manipulation and exhibition from two of the artworks by Gertrud Goldschmidt, Gego (Hamburg, 1912-Caracas, 1994). In general, she created her sculptures mainly by using lines, networks and gravitational meshes that intersect in the void and model spatial structures, whose fragility, together with the fact that they always require to be handled with very special care, make them difficult to move and to install. This fact is highlighted, due to its complex manipulation and installation, in Retícula cuadrada (Square Reticularea), formed by three elements. In contrast, the curative restoration is described for the Esfera en hexaedro (Hexahedron Sphere), as well as the conservatory adaptation of the packaging of the work, which allows the exhibition to travel.

Palavras-chave : Gego; manipulation; preventive conservation; itinerancy; courier.

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