19.OCT.2022 – 05.FEB.2023

Mexico City, October 18, 2022 — Museo Jumex presents the acclaimed exhibition,

Gego: Measuring Infinity, a retrospective devoted to the work of Gego (Gertrud

Goldschmidt, Hamburg, 1912 – Caracas, 1994), one of the most important postwar

avant-garde artists in Latin America. On view from October 19, 2022 through February

5, 2023, the exhibition highlights Gego’s organic forms, linear structures, and systematic

investigations, charting her evolution and distinctive approach to abstraction.

Trained as an architect and engineer at the Technische Hochschule Stuttgart, Gego

fled Nazi persecution in 1939 and immigrated to Venezuela, where she remained for

the rest of her life. To this day, Gego is internationally recognized as one of the leading

figures of artistic movements emerging throughout the latter half of the twentieth century,

including Geometric Abstraction and Kinetic Art. Her works are distinct for their

net-like structures that the artist intentionally differentiated from solid sculptural forms.

Gego: Measuring Infinity is installed chronologically in the museum’s second-floor

gallery and includes more than 120 works created from the early 1950s through the

early 1990s, encompassing every period in the artist’s evolution. The exhibition highlights

her artistic production across disciplines through different yet interrelated fields:

architecture, design, sculpture, drawing, printmaking, fabric, site-specific installations,

spatial interventions, public art, as well as her pedagogy. The central display brings

together 18 pieces from her most well-known series, among them the hung wire sculptures

she titled Chorros (Waterfalls), Troncos (Trunks), and Esferas (Spheres), in relation

to the forms from nature they resemble. Their arrangement allows the public to view

the pieces from different angles and positions, a distinct requirement for Gego’s work.

Highlighting her drawing and printmaking practice in dialogue with her acclaimed

three-dimensional series, the exhibition also includes examples from her earliest

artistic explorations. On view is a significant selection of drawings and prints that

investigate the effect of parallel lines and the spaces between them, watercolors and

drawings that elaborate certain motifs, and a selection of her last body of work, the

paper Tejeduras (Weavings).

A series of 27 Dibujos sin papel (Drawings without Paper) is shown installed at different

heights, mimicking a gesture that Gego used in her 1984 exhibition at the Museo de

Bellas Artes of Caracas. These works exemplify Gego’s refusal of the traditional division

of artistic genres since they are simultaneously three-dimensional sculptures as well

as playful drawings. Her use of unexpected materials such as everyday hardware and

remains of earlier pieces introduced a new direction in her work, which would continue

through later series, such as the Bichos (Bugs).

Representing every series in the artist’s prolific and diverse production, the exhibition

includes loans from Fundación Gego along with selected works from institutions and

private collections in Austin, Houston, Los Angeles, Miami, New York, San Francisco,

as well as Caracas and Barcelona.

Gego: Measuring Infinity is organized by Museo Jumex, Mexico City; the Solomon

R. Guggenheim Museum, New York; and Museu de Arte de São Paulo Assis


The exhibition was developed by Julieta González, Artistic Director, Instituto Inhotim,

Brumadinho, Brazil; Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim

Museum Bilbao, and Solomon R. Guggenheim Museum and Foundation, New York;

Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim

Museum and Foundation, New York, and former Adjunct Curator of Latin American

Art, Museu de Arte de São Paulo Assis Chateaubriand—MASP; in collaboration

with Tanya Barson, former Chief Curator, Museu d’Art Contemporani de Barcelona;

and Michael Wellen, Senior Curator, International Art, Tate Modern, London.

Coordinated at Museo Jumex by Cindy Peña, Curatorial Assistant.



Gego (Gertrud Goldschmidt) was born in 1912 to a liberal Jewish banking family in

Hamburg, Germany. She studied under Paul Bonatz at the University of Stuttgart,

where she graduated with an architecture and engineering degree in 1938. She

was forced to leave Germany shortly after finishing her degree and immigrated to

Venezuela in 1939. There, she worked as a freelance architect and operated her own

furniture workshop. She became a Venezuelan citizen in 1952 and lived there for the

remainder of her life.

In 1953, Gego began to develop her artistic practice full-time. Encouraged by the

support of Alejandro Otero and Jesús Rafael Soto, she began to create three-dimensional

works in 1956. Soon after, Gego participated in the exhibition Arte abstracto

en Venezuela in 1957 and by 1959 the Museum of Modern Art in New York had begun

acquiring her work. She made several extended visits to the United States for residencies

and exhibitions until 1967. In New York, Gego attended the Pratt Institute,

where she took engraving and printmaking classes. She also worked in the Tamarind

Lithography Workshop in Los Angeles. For most of her career, Gego worked in her

home studio in Caracas, creating a prolific and varied oeuvre consisting of sculptures

and works on paper. She died in Caracas in 1994.

Her many solo exhibitions include Questioning the Line: Gego, A Selection, 1955–

90, The Museum of Fine Arts, Houston (2002), and Museo Tamayo (2003); Gego:

Between Transparency and the Invisible, The Museum of Fine Arts, Houston (2005)

and The Drawing Center, New York (2007); Gego: Defying Structures, Museu de Arte

Contemporánea de Serralves, Porto (2006) and MACBA Museu d’Art Contemporani

de Barcelona (2007); Gego: Line as Object, Hamburger Kunsthalle, Kunstmuseum

Stuttgart and Henry Moore Institute, Leeds (2013); and Gego: The Architecture

of an Artist, Kunstmuseum Stuttgart (2022). Her work is in the collections of The

Museum of Modern Art, New York; The Museum of Fine Arts, Houston; Museo de

Arte Contemporáneo de Caracas; Museo de Bellas Artes, Caracas; New York Public

Library, New York; Tate Modern, London; and MACBA Museu d’Art Contemporani de

Barcelona; among others.



Museo Jumex, Fundación Jumex Arte Contemporáneo’s main platform, opened its

doors to the public in November 2013 as an institution devoted to contemporary art.

Its aim is not only to serve a broad and diverse public, but also to be a laboratory for

experimentation and innovation in the arts. Through its exhibitions, publications, research,

and public programs, Museo Jumex familiarizes audiences with the concepts

and contexts that inform current art practice. Through the use of critical and pedagogical

tools, the museum’s educational programs further the institution’s commitment

to build links between contemporary art and the public.









(55) 5395 2615 // (55) 5395 2618


Kunstmuseum Stuttgart. Gego.The Architecture of an Artist


19 February – 10 July 2022

Gego at her workshop. Photo: Isidro Núñez.
Fundación Gego Archive


With “Gego. The Architecture of an Artist” the Kunstmuseum Stuttgart is now devoting its second exhibition to the work of the artist Gego (Gertrud Goldschmidt, Hamburg, 1912– Caracas, 1994).

The occasion for the show is a loan of one hundred works to the Kunstmuseum from the Fundación Gego. Since 2019, this collection has been researched as part of the “Gego in Stuttgart” project, conducted in collaboration with the University of Stuttgart and the Wüstenrot Stiftung.

Curator Stefanie Reisinger’s research on the project was extensively supported by the Fundación Gego. Gego is one of the most renowned artists of Latin America today. She studied architecture at the Technische Hochschule in Stuttgart from 1932 to 1938 before she had to emigrate to Venezuela in 1939 because of her Jewish ancestry. In the mid-1950s she began working as an artist.

Gego’s training always remained a point of reference for her artistic practice, which she continually expanded in various media—from technical sketches along with drawings, etchings, and prints to objects and extensive installations in museums or public spaces.

The exhibition makes clear that the boundaries between the disciplines of architecture and art are fluid in Gego’s work.


Cuerdas Simple Medida (Coreogego)
Sonia Sanoja, 1978

Photograph: Miguel Gracia
© Sonia Sanoja – Alfredo Silva Estrada Foundation


In 1977, the venezuelan dancer Sonia Sanoja  played a performance within the framework of the Gego exhibition at the Museo de Arte Contemporáneo de Caracas. From this experience, a year later, the dancer created two emblematic choreographies in the history of contemporary dance in Venezuela.

At the Kunstmuseum Stuttgart, there will be a remake of these choreographies, under the direction of Claudia Capriles with the participation of the John Grancko School.

Organized by the Sonia Sanoja-Alfredo Silva Estrada Foundation.

It will be presented on February 18 during the opening of the exhibition and on the dates below:

Sunday, March 6, 4 pm
Tuesday, March 8, 5 pm
Sunday, March 20, 4 pm
Thursday, May 12, 5 pm
Thursday, May 19, 5pm
Saturday, May 21, 7:30 pm / 8:30 pm / 9:30 p.m. (Long Night of the Museums)
Thursday, June 23, 5 pm
Thursday, June 30, 5 pm
Friday, July 8, 7pm


Gego: Procedencia y encuentro
International Conference
Thursday, April 7 & 8, 2022

Gego’s independent artistic position was shaped by an intensive examination of the architectural practices of her time. Here, the significance of “origin and encounter” (“procedencia y encuentro”) played a central role for the exile artist. Together with international art historians, curators, and architectural theorists, we are interested in asking: what importance did the study of architecture at the TH Stuttgart have for Gego? What impulses did her new hometown, Caracas, in which all of the arts were closely interwoven, provide her?

In conjunction with the exhibition Gego: The Architecture of an Artist, a two-day symposium is taking place at the Kunstmuseum Stuttgart. The discussion with address the professional and social contexts in which Gego was embedded, first in Stuttgart and later in Caracas. These will be analyzed against the backdrop of the respective prevailing discourses in art and architecture and placed in relation to her artistic practice.


Mónica Amor (Maryland Institute College of Art), Noit Banai (Hong Kong Baptist University), Pablo León de la Barra (Guggenheim Museum, New York), Hannia Gómez (Fundación de la Memoria Urbana, Caracas), Hubert Klumpner (ETH Zürich), Sabine Maynberger (Universität Bonn), Mari Carmen Ramírez (Museum of Fine Arts, Houston), Stefanie Reisinger (Universität Stuttgart), Kerstin Thomas (Universität Stuttgart)



Ulrike Groos (director of the Kunstmuseum Stuttgart), Kerstin Thomas (professor of modern art history, Universität Stuttgart) and Philip Kurz (managing director of the Wüstenrot Stiftung)

Gego in Stuttgart: Long-term loan at the Kunstmuseum Stuttgart
Wednesday, May 4, 2022, 6:30 pm

In 2017, Fundación Gego entrusted one hundred works by Gego, as a long term loan to the Kunstmuseum Stuttgart for its custody, study and exhibition.

Different opportunities and challenges that these loans mean for public institutions will be discussed in this meeting

With the participation of:

Dr. Loretta Würtenberger. Director The Institutes for Artist’s Estates
Dr. Martin Hoernes Secretary General. Ernst von Siemmens Stiftung
Dr. Ulrike Groos. Kunstmuseum Stuttgart Director
Moderator: Prof. Georg Imdahl. Art critic, lecturer and professor at Kunstakademic Münster