Like a meticulous and careful spider, the importance of manual work in Gego's pieces unfolds before our eyes and conveys ideas of deep meaning, such as the value of patience, contemplation, the observation of life in its many facets, the relationship with others, the cooperation. The simple approach of using metal segments as connectors between nodes and weaving huge interconnected networks, occupying a physical space, encloses a substantial visual and discourse load.

Reticulárea, 1969. Fine Arte Museum, Caracas. Photo Paolo Gasparini, Fundación Gego Archive

This German artist, based in Venezuela since she left her home country during World War II, began to develop her own language in the 1960s. In her work, it is evident the great influence of her training as an engineer, with a mention in architecture, studies that she concluded in 1938 at the University of Stuttgart. As Gertrud Goldschmidt, her real name, she developed her career in the world of design and architecture. She created a company dedicated to the manufacture of furniture and lamps and got involved in urban design projects with residential houses in Los Chorros, Quintas El Urape and Tulipán.

But since the late 50s, Gertrud ceases to be Gertrud and begins to be Gego. The take-off of her artistic career coincides with a turn in her personal life when, after having divorced her first husband in 1952, she meets her life partner for the rest of her days: Gerd Leufert. In the early years, her work becomes more landscape, expressionist and figurative; but soon she begins to explore concepts that interest her especially, such as the three-dimensional configuration of the works, at which time she establishes a relationship of friendship and mutual exchange with sculptors such as Alejandro Otero and Jesús Soto. In this period, called "Parallel Lines", the influence of geometric trends and kinetic art becomes palpable in many of her works, as with the piece "Sphere", which produces a surprising sensation of movement when one goes around it.

It was always crucial for Gego to include a spatial aspect in her work. Some of her most famous works belong to the well-known period of "Reticle-areas, Trunks and Spheres", which began in 1969. That's when the artist abandons rigid materials and begins to weave her nets in a flexible way using adaptable materials, and embraces new formats, always starting from pure forms, but open to the modification of patterns.

The undoubted influence of this artist on the kinetic movement and three-dimensional geometric art is undeniable. This has led the director Montenegro & Lafont to create 17 micro-documentaries with testimonials from personalities who know and value her work to offer us a more intimate vision of the author, a project entitled “fg conversations”. After she died in 1994, her family created the Gego Foundation, which has collaborated intensely on this proposal.

Gego in her studio, Caracas, ca. 1982, Fundación Gego Archive

With several exhibitions to open at the São Paulo Museum of Art, the Jumex Museum in Mexico City, the Museum of Contemporary Art in Barcelona and the Guggenheim in New York, the Reina Sofia Museum organises a session to display the documentaries and open debate around the work of this artist, with the participation of Yayo Aznar (architect) and Guillermo Barrios (art historian), and presented by the curator and historian Federica Palomero. “Links in/about Gego”, Monday, October 14th, 2019 - 7:00 p.m. / Sabatini Building, Auditorium.

Daniel Barrio. Guest artist of the third edition of OPEN BOOTH. Courtesy of the artist.

DESPIECE. PROTOCOLO DE MUTACIÓN

As part of the Art Madrid’26 Parallel Program, we present the third edition of Open Booth, a space conceived as a platform for artistic creation and contemporary experimentation. The initiative focuses on artists who do not yet have representation within the gallery circuit, offering a high-visibility professional context in which new voices can develop their practice, explore forms of engagement with audiences, and consolidate their presence within the current art scene. On this occasion, the project features artist Daniel Barrio (Cuba, 1988), who presents the site-specific work Despiece. Protocolo de mutación.

Daniel Barrio’s practice focuses on painting as a space for experimentation, from which he explores the commodification of social life and the tyranny of media approval. He works with images drawn from the press and other media, intervening in them pictorially to disrupt their original meaning. Through this process, the artist opens up new readings and questions how meaning is produced, approaching painting as a space of realization, therapy, and catharsis.

Despiece. Protocolo de mutación is built from urban remnants, industrial materials, and fragments of history, inviting us to reflect on which memories we inherit, which we consume, and which ones we are capable of creating. Floors, walls, and volumes come together to form a landscape under tension, where the sacred coexists with the everyday, and where cracks matter more than perfection.

The constant evolution of art calls for ongoing exchange between artists, institutions, and audiences. In its 21st edition, Art Madrid reaffirms its commitment to acting as a catalyst for this dialogue, expanding the traditional boundaries of the art fair context and opening up new possibilities of visibility for emerging practices.

Despiece. Protocolo de mutación emerges from a critical and affective impulse to dismantle, examine, and reassemble what shapes us culturally and personally. The work is conceived as an inseparable whole: an inner landscape that operates as a device of suspicion, where floors, walls, and volumes configure an ecosystem of remnants. It proposes a reading of history not as a linear continuity, but as a system of forces in permanent friction, articulating space as an altered archive—a surface that presents itself as definitive while remaining in constant transformation.

The work takes shape as a landscape constructed from urban waste, where floors, walls, and objects form a unified body made of lime mortar, PVC from theatrical signage, industrial foam, and offering wax. At the core of the project is an L-shaped structure measuring 5 × 3 meters, which reinterprets the fresco technique on reclaimed industrial supports. The mortar is applied wet over continuous working days, without a pursuit of perfection, allowing the material to reveal its own character. Orbiting this structure are architectural fragments: foam blocks that simulate concrete, a 3D-printed and distorted Belvedere torso, and a wax sculptural element embedded with sandpaper used by anonymous workers and artists, preserving the labor of those other bodies.

A white wax sculptural element functions within the installation as a point of sensory concentration that challenges the gaze. Inside it converge the accumulated faith of offering candles and the industrial residues of the studio, recalling that purity and devotion coexist with the materiality of everyday life. The viewer’s experience thus moves beyond the visual: bending down, smelling, and approaching its vulnerability transforms perception into an intimate, embodied act. Embedded within its density are sanding blocks used by artists, artisans, and laborers, recovered from other contexts, where the sandpaper operates as a trace of the effort of other bodies, following a protocol of registration with no autobiographical intent.

Despiece. Protocolo de mutación addresses us directly, asking: which memory do we value—the one we consume, or the one we construct with rigor? The audience leaves behind a purely contemplative position to become part of the system, as the effort of moving matter, documentary rigor, and immersive materiality form a body of resistance against a mediated reality. The project thus takes shape as an inner landscape, where floor, surface, and volume articulate an anatomy of residues. Adulteration operates as an analytical methodology applied to the layers of urban reality, intervening in history through theatrical and street advertising, architectural remnants, and administrative protocols, proposing that art can restore the capacity to build one’s own memory, even if inevitably fragmented.

ABOUT THE ARTIST

DANIEL BARRIO (1988, Cuba)

Daniel Barrio (Cienfuegos, Cuba, 1988) is a visual artist whose practice articulates space through painting, understanding the environment as an altered archive open to critical intervention. He studied at the Academy of Fine Arts of Cienfuegos (2004–2008), specializing in painting, and later at the Madrid Film School (ECAM, 2012–2015), where he studied Art Direction. His methodology integrates visual thinking with scenographic narrative.

His trajectory includes solo exhibitions such as La levedad en lo cotidiano (Galería María Porto, Madrid, 2023), Interiores ajenos (PlusArtis, Madrid, 2022), and Tribud (Navel Art, Madrid, 2019), as well as significant group exhibitions including Space is the Landscape (Estudio Show, Madrid, 2024), Winterlinch (Espacio Valverde Gallery, Madrid, 2024), Hiberia (Galería María Porto, Lisbon, 2023), and the traveling exhibition of the La Rioja Young Art Exhibition (2022).

A member of the Resiliencia Collective, his work does not pursue the production of objects but rather the articulation of pictorial devices that generate protocols of resistance against the flow of disposable images. In a context saturated with immediate data, his practice produces traces and archives what must endure, questioning not the meaning of the work itself but the memory the viewer constructs through interaction—thus reclaiming sovereignty over the gaze and inhabiting ruins as a method for understanding the present.