Translated into English by Alex Branger, this essay—“Abstraction, organism, apparatus”—by the Venezuelan critic, curator, and poet Luis Enrique Pérez Oramas (b. 1960) was first published in 2010 in Modern Women. Women Artists at The Museum of Modern Art, the book that was published on the occasion of the exhibition of the same name. Several aspects of this lengthy essay make it one of the most important and complete recent essays on the subject of the typology of works that are generically referred to as “penetrables” in Latin America. In the first place, the author establishes the importance of the role played by Latin American women in modern and contemporary art by selecting major works by artists who are well-known at an international level: the Brazilian Lygia Clark (1920–1988), the German-born Venezuelan Gego (Gertrud Goldschmidt 1912–1994), and the Swiss-born artist who lived in Brazil, Mira Schendel (Myrrha Dagmar Dub, 1919–1988). In the second place, the critic relies on a single hypothesis—oblivion and non-oblivion as applied to a creation myth—as the common thread that ties together his exhaustive analysis of all three works, taking a different and original approach to each of them. Furthermore, the critic’s thesis is scrupulously supported by the theories of acknowledged classical and contemporary authors such as Louis Marin; Adolf Loos; Gotthold Lessing; Simon Shama; Wilhelm Heinrich Riehl; Giorgio Agamben; Heraclitus; and Lucretius. In the third place, this is an immensely important essay among the many written about Gego by Pérez Oramas since the mid-1990s, in which he explores her significance within the context of Venezuelan art, especially as a counterpoint to the trend in Kinetic [art] that was in vogue in Venezuela in the 1960s and 1970s, suggesting a new interpretation of her work based on her German roots, in a sort of return to the creation myth of the German people that is rooted in nature, the woodlands, and the forest.
This essay was originally written in Spanish, the author’s mother tongue; it was then edited and translated into English for the MoMA book. Excerpts of the unpublished Spanish version (as well as the English version by Alex Branger) have been included in the bilingual book Desenredando la red. La Reticulárea de Gego. Una antología de respuestas críticas / Untangling the Web: Gego’s Reticulárea, An Anthology of Critical Response, María Elena Huizi and Ester Crespin (organizers)—to be published by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.