Gego (Gertrude Goldschmidt). Reticulárea. 1969. Installation of steel and metal. Dimensions variable. Museo de Bellas Artes, Caracas.
Saturday 19th September, 12 – 6pm
Collectively, Versatorium will spend an afternoon at the Galerie Martin Janda to translate, read in and with Gego’s posthumously published lines and writings Sabiduras (Wesheiten). The translators will be present and establish various participatory models (maybe spanning above the distance of a Baby-Elephant but below that of three grown-up Elderfants perfectly aligned trunk to tail). Versatorium * Gego will concern itself with exploring, reading, transmitting and transletting lines (Leinen los) in Gego's Sabiduras. Everybody is welcome to tune in and out at trunk-to-tail range.
I believe that it is necessary that you do not think of this course as a sequence of tasks following certain steps.
I want to explain my ideas by presenting problems. When I give the handouts to you, I do not explain very much. There is a reason for this: doing is one thing, understanding another. But you only understand when you know, and you only know when you have experienced, have lived. All knowledge is based on experience and analogies from experience.
The first programmed exercises concern one single aspect of design:
(An exercise follows)
"Versatorium is a collective action on and in translation,
working to turn over the original to find infinite grains
of potential in waves of sound, sense, intellect, instinct,
sight, cite, slight, slur, glue, flip, slip, slap, and all
the get-go you can add in the plurivalences that make up the
infrastructure of wor(l)d-consciousness.
In the beginning was translation and a task for poetry is coming
to terms with that, with all the humor we can muster and all
the bathos in which we are bathed, like harlequins on the beach
of the imaginary.”
Gertrude Goldschmidt (b. 1912 – d. 1994), otherwise known as Gego, was an artist, architect, engineer, writer, and educator. She was born in Hamburg, studied in Stuttgart, emigrated to Caracas in 1939 with the rise of National Socialism and, after more than a decade as a stateless person, became a citizen of Venezuela in 1952. Known for her abstractions, kinetic sculptures, ‘drawings without paper,’ lithography, and large installations called Reticuláreas, she was a pivotal figure in the articulation of a multicultural and multilingual modernism under the banner of a radical universalism.