246

Appendix 1
The following text was published in Paris in 1964 on the occasion of the second exhibition with the
title La Nouvelle Tendance.
1
It was the quasi manifesto of an internationalist artistic community
and it seemed worth adding here because it gives evidence of the cultural shift occurring at this
moment within European societies from a modern to a post-modern sensibility. Most strikingly, the
text demonstrates how in this period artistic practice was reformulated with the vocabulary of
commerce and became the business of exchange rather than production.




LA NOUVELLE TENDANCE


What is La Nouvelle Tendance?

A society that has never been founded.
An organisation without statutes.
An unwritten program in which fifty artists are engaged.
Nonetheless, the answer is not as easy as that although the members of La Nouvelle Tendance
recognise one another, there is always someone who will ask what it represents in reality.
It is only our feeling of being relatives, our elective affinities.
Is the term Nouvelle Tendance sufficient as an explanation? No, because which new movement
within the domain of art could possibly make such a claim?

For this reason, do as most of us do. Consider it as being ironic, as engaging in nothing. Take it
lightly, just as it had been created.
Our history is quickly told. La Nouvelle Tendance came out of an exhibition proposed by Alain
Mavignier and realised in 1961 in Zagreb by Mako Maestrovics and the Muse dArt Contemporain
de Zagreb.

1
La Nouvelle Tendance, exhibition catalogue, Muse darts Dcoratifs, Paris, 1964.

247
The exhibition was presented under the title La Nouvelle Tendance. In this way it was shown that it
consisted of an art in the making, of which the art works had not yet a market, had no audience and
the critiques had no basis for comparison, hence no recipe for appreciation.

Coming from four corners of Europe where they worked alone or in groups, independent from one
another, the participants felt vaguely a certain resemblance that is, an identity of their problems but
they had ignored the degree of their problems. The exposition in Zagreb was for them a revelation.
The result of Zagreb: of a name giving (lightly) emerged a mark (fixing) of an exhibition
(improvised) a movement (organised).
More than fifty members belong today to La Nouvelle Tendance.
The exhibition of Zagreb has been transformed into a Biennale of which the second version took
place in 1963. Other exhibitions have been organised in Germany and in Italy but none of them, to
this day, has acquired the importance that surpasses the on at the Muse des Arts Decoratifs de
Paris.

What wants La Nouvelle Tendance?

Our aim is it to make of you a partner.
Our art is based on reciprocity.
It does not aspire to perfection.
It is not definitive, leaving constantly open the field between the work of art and you.
More precisely: our art depends on your active participation.
What we are looking for is that your enjoyment in front of the work of art is not the one of an
admirer but of a partner.
Besides, art for its own sake does not interest us. For us it is a means to evoke visual sensations, a
material that gives value to our gifts.
Since the world is give, it can become a partner.
And it would be perfect if the work of art would allow you to forget the painting, loeuvre dart.

What is the aim of La Nouvelle Tendance?

We would have achieved a lot, by way of our creations, if would have found a path toward you.
We have enough of producing paintings for the dusty eternity of museums. Our art is art of the
every day, to such a degree that some of you will take us for Socialists. In any case, it is social.
248
The aim is, weve achieved as yet only imperfectly, but our conviction ids that our art is realisable
within the social conditions, in multiple series and why not? on the basis of industrial production.
Completely new materials, completely new procedures. Every new apparatus is permissible, as long
as it is necessary for our work.
We want to be free of all convention even those that we have defined for ourselves despite
ourselves.
Yet, our movement is not revolutionary.
We are not united against someone or something.
We open doors and our program believes in every new experience.

What is achieved by La Nouvelle Tendance?

Do not measure our efforts against our propositions but against our realisations, our search. We
wish that ideas are subjective that means: new, the realisation objective that means, anonymous.

In the following section we reproduce a certain number of our realisations. It is no exhaustive
catalogue but a survey on our work.

K. G. (Karl Gerstner)





Original French text


Quest-ce que la Nouvelle Tendance?

Une socit qui na jamais t fonde.
Une organisation sans statu.
Un programme non crit auquel plus de cinquante artistes se sont engags.

Pourtant la rponse nest pas aussi facile donner lorsque les membres de la nouvelle tendance se
rencontrent, il y toujours quelquun pour demander ce quelle reprsente en ralit.

Cest uniquement notre sentiment de parent, nos affinits lectives.
Le terme Nouvelles Tendance est il une explication suffisante? Non. Car quel mouvement nouveau
parmis tous dans le domaine de lart ne pourrait sen rclamer?

249
Ds lors, faites comme la plupart dentre nous. Considrez-le comme tant ironique, comme
nengagement rien. Prenez-la la lgre, comme il a t cre.

Notre histoire est vite raconte. La Nouvelle Tendance est issue dune exposition propose par
Alain Mavignier et ralise en 1961 Zagreb par Mako Maestrovics et le Muse dArt
Contemporain de Zagreb. Lexposition fut prsente sous le titre Nouvelle Tendance. Ainsi lont
montrait quil sagissait dune art en devenir dont les oeuvres navait pas encore eu de march, dans
le public, et pour lesquelles les critiques ne disposaient daucune base de comparaison, donc de
recette dapprciation.

Venus de quatre coins de lEurope o ils travaillent seuls ou en groupe, indpendants les uns des
autres, les participants sentaient confusment une certaine ressemblance, voir une identit de leurs
problmes, mais ils ignoraient le degr de cette identit. Lexposition de Zagreb fut pour eux une
rvlation.

Le rsultat de Zagreb: dune appellation (lgre) est issue une marque (fixe) dune exposition
(improvise) un mouvement (organis).

Plus de cinquante membres appartiennent aujourdhui la Nouvelle Tendance
Lexposition de Zagreb sest transforme en une Biennale dont la seconde manifestation a eu lieu
en 1963. Dautres expositions ont t organises en Allemagne et en Italie, mais aucune, ce jour,
na atteint limportance que revt celle du Muse des Arts Dcoratifs de Paris.

Que veut la Nouvelle Tendance?

Notre but est de faire de vous un partenaire.
Notre art est bas sur la rciprocit.
Il naspire pas la perfection.
Il nest pas dfinitif, laissant constamment le champ libre entre loeuvre et vous.
Plus prcisment: notre art dpend de votre participation active.

Ce que nous cherchons est que votre joie devant une uvre artistique ne soit pas le fait dun
admirateur, mais celle dun partenaire.
Lart dailleurs ne nous intresse pas en tant que tel. Il est pour nous un moyen de procurer des
sensations visuelles, un matriel mettant en valeur nos dons.
Tt le monde tant donn, tt le monde peut devenir partenaire.
Et ce serait parfait si luvre vous fait oublier le tableau, luvre dart.

Quel est le but de la Nouvelle Tendance?

Nous aurons beaucoup obtenu si, travers nos crations, nous trouvons le chemin qui mne vous.

Nous avons assez de faire de tableaux pour lternit poussireuse des muses. Notre art est un art
de tous les jours, tel point que certains dentre nous voudraient le de socialiste. Il est en tout cas
social.

Le but, nous lavons pas encore ou quimparfaitement atteint, mais notre conviction est que notre
art est ralisable des conditions sociales, en grande sries et pourquoi pas? sur une base
industrielle.

250
Tout nouveau matriel tout nouveau procd. Tout nouvel appareil peut tre retenu, dans la mesure
o il serait ncessaire notre travail.
Nous voulons tre libres de toute convention mme de celle que nous avons labores nous-
mmes, malgr nous.
Mais notre mouvement nest pas rvolutionnaire.
Nous ne formons pas de front contre quelquun ou une chose.
Nous ouvrions des portes et notre programme crot chaque nouvelle exprience.
Qu atteint la Nouvelle Tendance?
Ne mesurez pas nos efforts en fonction de nos thses mais de nos ralisations, de nos recherches.
Nous souhaitons que lide soit subjective, cest dire: nouvelle, la ralisation objective, cest
dire: anonyme.

Dans la partie qui suit, nous avons reproduit un certain nombre de nos ralisations. Il sagit moins
dun catalogue exhaustif que dun aperu de nos travaux.

K. G. (Karl Gerstner)
251
Appendix 2


The following is a selected bibliography of Gego's library held at the Fundacin Gego in Caracas.


Bonatz, Paul, Leben und Bauen, Stuttgart, 1950. (Signed Gertrude Gunz)

Borrego, John, Space, Grid, Structures, Skeletal Frameworks and Stresses Skin Systems, MIT Press,
Cambridge Massachusetts, 1968.

Critchlow, Keith, Order in Space: a design source book, Thames and Hudson, London, 1969.
Republished by The Viking Press, New York, 1970.

De Zurko, Origins of Functionalist Theory, Columbia University, 1957.

Duberman, Martin B., Black Mountain, An Exploration in Community, E.P. Dutton & Co., New
York, 1972.

Forge, Andrew, Rauschenberg, Abrams, New York, 1967.

Gardner, Martin, Mathematical Puzzles and Diversions, Penguin, London, 1961.

Goldschmidt, Adolph, 1863-1944: Lebenserinnerungen, herausgegeben und kommentiert von Marie
Roosen-Runge-Mollwo, Deutscher Verlag fr Kunstwissenschaft, Berlin, 1989.

Grohmann, Will, Paul Klee 1879-1940, Lund Humphries, London, 1954.

Hartung, Rolf, Creative Textile Design, Creative Play series, Reinhold Publishing, New York, 1963.
(Signed GEGO)

Johannes Itten, Design and Form, the Basic Course at the Bauhaus, Thames & Hudson, London,
1964. Republished in 1975. First published in German as Mein Vorkurs am Bauhaus. Gestaltung
und Formenlehre, Otto Maier Verlag, Ravensburg, 1963.

Jung, Carl Gustav, Der Mensch und seine Symbole, Patmos Verlag GmbH & Co. KG. Walter-
Verlag, Olten, 1968. (Gego owned a German version of the book) Originally published in English
as, Man and his Symbols, after Jungs death edited by M.-L. von Franz and John Freeman, Aldus,
London, 1964.

Meier-Graeff, J., Entwicklungsgeschichte der Modernen Kunst, Band II, Stuttgart, 1904.

Newmann, Thelma, Plastics as an Art Form, Chilton Books, New York, 1964. (Signed GEGO)

Oeri, Georgine, Man and His Images: A Way of Seeing, A studio book, the Viking Press, New
York, 1968. (Inside the book a newspaper clip 'Is Pop Art Really Art? Questions New York art
critic', by Georgine Oeri, Professor at New York Parsons School, Daily Journal, December 27, New
York, 1964.

252
Penrose, Roland, Picasso: his life and work, Gollancz, London, 1958.

Read, Herbert, The Form of Things Unknown: An Essay on the Impact of the Technological
Revolution on the Creative Arts, Meridian Books, London, 1963.

Reifenberg, Benno und Wilhelm Hausenstein, Max Beckmann, Piper, Mnchen, 1949.

Ronge, Hans (ed.), Kunst und Kybernetik, Bericht ber Kunsterziehungstagung, Recklinghausen,
1965, 1966, 1967, Schauberg Du Mont Verlag, Kln, 1968.

Sturat Thorpe, Azalea, and Jack Leonard Larsen, Elements of Weaving, New York, 1967. (Signed
GEGO)

Werner, Bruno, Die Zwanziger Jahre, Bruckmann, 1962. (signed by Gerd Leufert).

Weyl, Hermann, Symmetry, Princeton University Press and Oxford University Press, Princeton and
Oxford, 1952.

Zwischen Kunst und Kunstindustrie, Der Deutsche Werkbund, Neue Sammlung Mnchen, 1975.
Published by Internationales Design Zentrum Berlin, Haus Deutscher Ring, Hamburg.
253
Bibliography




Venezuela


Amor, Mnica, Defying Structures: Gego and the Crisis of Geometric Abstraction in the Americas,
Ph.D thesis, City University of New York, 2002.
- 'Gego: Desafiando estructuras', Poliester, vol. 4, no 4, Winter 1995/96, pp. 20-5.
- Another Geometry: Gegos Reticulrea, 1969-1982, October 113, Summer 2005, pp. 101-
25.
- Between Spaces: The Reticulrea and its place in History, Gego. Obra Completa, 1955-
1990, Fundacin Cisneros, Fundacin Gego, Fundacin Museo de Bellas Artes, Caracas,
2003, p. 400-6.

Alvagenga, Teresa, Gego: Vengo de doblar superficies, El Nacional, September 23, Caracas,
1977.

Auerbach, Ruth, Gego: Constructing a Didactics, Gego. Obra Completa, 1955-1990, Fundacin
Cisneros, Fundacin Gego, Fundacin Museo de Bellas Artes, Caracas, 2003, pp. 407-12.

Balza, Jose, Soto, El nio, Galera de Arte Nacional, Caracas, no date.

Benavides, Jos D., Gegos neutralising physiognomy, ltimas Noticias (Caracas), 31/08/1980,
Sunday supplement.

Bois, Yve-Alain (ed.), Geometric Abstraction, exhibition catalogue, Patricia Phelps de Cisneros
Collection, Caracas and Harvard Fogg Museum, Harvard, 2000.

Boulton, Alfredo, Soto, Ernesto Armitano Editor, Caracas, 1973.
- Cruz-Diez, Ernesto Armitano Editor, Caracas, 1975.

Carvajal, Rina, 'GEGO: Outside In, Inside Out', The Experimental Exercise of Freedom, exhibition
catalogue, The Museum of Contemporary Art, Los Angeles, 2000, pp. 111-135.
- 'GEGO: Weaving the Margins', Inside the Visible: The Elliptical Traverse of 20th Century
Art in, of, and from the Feminine, exhibition catalogue, Catherine M. de Zegher (ed.), MIT
Press, Cambridge Massachusetts, 1996, pp. 341-45.

Coppedge, Michael, Venezuela, Popular Sovereignty versus Liberal Democracy, Constructing
Democratic Governance in Latin America, Dominigues, I. Jorge and Michael Shiffer (eds.),
second edition, John Hopkins University Press, Baltimore, Maryland, 1996, 2003.

Cruz-Dez, Carlos, Reflexion sobre el color, Ediciones de FabriArte, Caracas, 1989.

Damas, Germn Carrera, Una nacin llamada Venezuela, Monte vila Editores, Caracas, 1983.

254
Figarella, Mariana, Museos, galeras y subastas en el arte venezolano. Su incidencia en la creacin
de un mercado artstico, Tesis de Grado de la Escuela de Artes, Facultad de Humanidades y
Educacin, UCV, Caracas, 1985.

Fraser, Valerie, Building the New World: Studies in the Modern Architecture of Latin America
1930-1960, Verso, London, 2000.

Gmez, Hannia and John Lange, Gego arquitecto, exhibition catalogue, Sala Trasnocho Arte
Contacto (TAC) with Fundacin Gego, Caracas, 2006.

Guevara, Roberto, 'GEGO. Doing and Undoing Space', Bienal Internacional de Sao Paulo, 23,
Catalogo das salas especiais, pp. 150-69.
- Reticularea de Gego, Ver todos las Das, Monte vila Editores, Caracas, 1981, pp. 49-53.
- Para Estar con Gego, Ver todos las Das, Monte vila Editores, Caracas, 1981. pp. 54-56.

Huizi, Mara Elena and Josephina Manrique, Sabiduras and other texts by Gego, Museum of Fine
Arts, Houston and Fundacin Gego, Caracas, 2005.

Humboldt, Alexander von, Briefe aus Amerika 1799-1804, Ulrike Moheit (ed.), Akademie Verlag ,
Berlin, 1993.

Jimnez, Ariel, 'Ni Aqu Ni All', Heterotopias, medio siglo, sin-lugar, 1918-1968, exhibition
catalogue, Mari Carmen Ramrez (ed.) Madrid, Museo Nacional Centro de Arte Reina
Sofa, 2000, pp. 237-43.
- Utopas Americanas, Coleccin Patricia Phelps de Cisneros, Caracas and Centre for
Modern studies, University of Texas, Austin, 2000.
- La tentacin de la pureza, Seminario "Horizontes Constructivos: La Perspectiva
Latinoamericana", Cuaderno 00.3, Centro de Estudios de la Modernidad, Museo de Arte
Jack S. Blanton Universidad de Texas en Austin and Caracas, 2000.
- Conversaciones con Jess Soto, Coleccin Patricia Phelps de Cisneros, Caracas, 2001.
English version, Conversations with Jesus Soto, translation Evelyn Rosenthal, Fundacin
Cisneros, Caracas, 2005.

Levine, Daniel H. and Brian F. Crisp, 'Venezuela: The Character, Crisis and Possible Future of
Democracy', Democracy in Developing Countries, Latin America, Diamond, Larry, (ed.),
Second Edition, Colorado and London, 1999, pp. 367-428.

Marquez, Patricia C., The Street is My Home, Youth and Violence in Caracas, Stanford University
Press, Stanford California, 1999.

Mendoza, Soledad (ed.), As es Caracas, Ediciones Amn, Caracas, 1980.

Meneses, Guillermo, Podemos Pensar, Pintura Venezolano, 1661-1961, exhibition catalogue,
Museo de Bellas Artes, Caracas, 1961, pp. 1-13.

Michelena, Gustavo, Los Disidentes, Sociologa Universidad Central de Venezuela, Caracas, 1972.

Moholy-Nagy, Sibyl, Carlos Ral Villanueva and the Architecture of Venezuela, Alec Tiranti,
London, 1964. Translation Marta Traba, Carlos Ral Villanueva y la arquitectura de
Venezuela, Editorial Lectura, Caracas, 1964.

255
Ossott, Hanni, GEGO, exhibition catalogue, Ediciones de Museo de Arte Contemporneo de
Caracas, Caracas, 1977.

Otero, Alejandro y Miguel Otero Silva, Polmica Sobre Arte Abstracto, Coleccin Delta Solar,
Museo Alejandro Otero, Caracas, 1999.
- He vivido por los ojos, Correspondencia Alejandro Otero/Alfredo Boulton, 1946-1974,
Ariel Jimnez (ed.), Alberto Vollmer Fundacin, Caracas, 2001.
- Memoria crtica, Douglas Monroy and Luisa Prez Gil (eds.), Galera de Arte Nacional and
Monte vila Editores, Caracas, 1993.

Prez-Oramas, Luis Enrique, La Resistencia de las Sombras: Alejandro Otero y GEGO, Cuaderno
8, Fundacion Cisneros, Caracas, 1996.
- 'La Invencin de la Continuidad', La Invencin de la Continuidad, exhibition catalogue,
Galera De Arte Nacional Caracas, 1997, pp. 9-23.
- 'Works and Problems: A Conversation about the Patricia Phelps de Cisneros Collection',
Ariel Jimenez and Luis Enrique Prez-Oramas, Geometric Abstraction, exhibition
catalogue, Yve-Alain Bois (ed.), Patricia Phelps de Cisneros Collection, Caracas and
Harvard Fogg Museum, Harvard, 2000, pp. 59-76.
- GEGO, y la escena analtica del cinetismo', Heterotopias, medio siglo, sin-lugar, 1918-
1968, exhibition catalogue, Mari Carmen Ramrez (ed.) Madrid, Museo Nacional Centro de
Arte Reina Sofa, 2000, pp. 245-51.
- Gego and the analytical context of Cinetismo, Inverted Utopias: avant-garde art in Latin
America, Mari Carmen Ramrez and Hctor Olea, exhibition catalogue, Museum of Fine
Arts Houston, Texas, Yale University Press, 2004, pp. 255-61.
- 'Gego, Residual Reticulreas, and Involuntary Modernism: Shadow, Trace and Site',
Questioning the Line: Gego, A selection, 1955-1990, exhibition catalogue, Mari Carmen
Ramrez (ed.), Houston Museum of Fine Arts, 2002, pp. 83-116.
- 'Gego: The Paradigm of Laocon', Trans>, no. 7, 2000, pp. 160-167. Re-published in Gego.
Obra Completa, 1955-1990, Fundacin Cisneros, Fundacin Gego, Fundacin Museo de
Bellas Artes, Caracas, 2003, pp. 394-400.

Peruga, Iris, MBA Cinquentanario, una historia, Iris Peruga en colaboracin con Jos Maria
Salvador, Museo De Bellas Artes, Caracas, 1988.
- with Josefina Nuez, GEGO: 1955-90, exhibition catalogue, Museo de Bellas Artes,
Caracas, 2000.
- 'From Matter to Space: The Game of Creation or Creation as Game?', Questioning the Line:
Gego, A selection, 1955-1990, exhibition catalogue, Mari Carmen Ramrez (ed.), Houston
Museum of Fine Arts, 2002, pp. 41-76.
- Gego: the Prodigious Game of Creating, Gego. Obra Completa, 1955-1990, Fundacin
Cisneros, 2004, p. 378-92.

Posani, Juan Pedro, (ed.), Carlos Ral Villanueva: un moderno en sudamrica, Galera de Arte
Nacional, exhibition catalogue, IV Bienale de Arquitectura in So Paulo and at the Galera
de Arte Nacional in Caracas in 1999-2000.

Ramrez, Mari Carmen, Heterotopias, medio siglo, sin-lugar, 1918-1968, exhibition catalogue,
Mari Carmen Ramrez (ed.) Madrid, Museo Nacional Centro de Arte Reina Sofa, 2000.
- Questioning the Line: Gego, A selection, 1955-1990, exhibition catalogue, Mari Carmen
Ramrez (ed.), Houston Museum of Fine Arts, 2002.
256
- 'Reading Gego between the Lines', Questioning the Line: Gego, A selection, 1955-1990,
exhibition catalogue, Mari Carmen Ramrez (ed.), Houston Museum of Fine Arts, 2002, pp.
16-39.
- Inverted Utopias: avant-garde art in Latin America, Mari Carmen Ramrez and Hctor
Olea, exhibition catalogue, Museum of Fine Arts Houston, Texas, Yale University Press,
2004.
- Gego: Between Transparency and the Invisible, Mari Carmen Ramrez, Josefina Manrique,
Catherine de Zegher, Museum of Fine Arts, Houston, 2006.

Rdriguez, Blgica Arte Geomtrico- Arte Constructivo Venezuela 1945/1965, Arte Constructivo
Venezolano 1945-1965, exhibition catalogue, Galera de Arte Nacional, Caracas, 1979, pp.
6-21.

Salvador, Jos Maria, Carlos Cruz-Diez en la arquitectura, Centro Cultural Consolidado, Caracas,
1991.

Stein Nuez, Ricardo Axel, Max Bill, Esculturas, graficas, Museo de Bellas Artes, 1979.

Traba, Marta, Mirar en Caracas, Monte vila Editores, Caracas, 1974.
- Cartas americanas, Alejandro de Humboldt: compilacin, prlogo, notas y cronologa,
Charles Minguet (ed.), translation Marta Traba, Biblioteca Ayacucho, Caracas, Venezuela,
1980.





France


Barthes, Roland,Death of the author, translation Steven Heath, Image,
Music, Text, Fontana/Collins, London, 1977, pp. 143-48. First published as La mort de
l'auteur, Le bruissement de la langue, Paris: Seuil, 1984, pp. 61-7.

Birnbaum, Pierre, Anti-Semitism in France, translation Miriam Kochan, Blackwell, Oxford and
Cambridge, 1992. First published as Un myth politique: La Rpublique Juive, Arthme
Fayard, Paris, 1988.
- Les sommets de Ltat :essai sur llite du pouvoir en France, ditions du seuil, Paris,
1994.
- Jewish Destinies: Citizenship, State, and Community in Modern France, translation Arthur
Goldhammer, Hill and Wang, New York, 2000. First published as Le Destin Juif: De la
Rvolution franaise Carpentras, Calmann-Lvy, Paris, 1995.
- Gographie de lespoire: Lexile, les Lumires, la dsassimilation,
ditions Gallimard, Paris, 2004.

Charlet, Nicolas, Yves Klein machine peindre, ditions complicit,
Paris, 2003.

Corvin, Michel, Festival dArt davant-garde, 1956-1960, Somogy ditions
dart, Paris, 2004.

257
Daval, Jean-Luc, Histoire de la peinture abstraite, Fernand Hazan, Paris, 1988.

De Beauvoir, Simone, LAmrique au jour le jour, Gallimard, Paris, 1948.
- Le deuxime sexe, Tome I et II, Folio Gallimard, Paris 1949.
- Faut-il brler Sade?, Les Temps Modernes, December and January 1951-2, Paris.
Translation Annette Michelson, The Marquis de Sade, John Calder, London, 1962, pp. 9-
82.
- Faut-il brler Sade?, Gallimard Ides, Paris, 1972. First published as Privilges, Paris,
1955.
- Mmoires dune jeune fille range, ditions Gallimard, Paris, 1958.

Degand, Lon, Abstraction/Figuration, Langage et signification de la peinture, introduction de
Daniel Abadie, ditions cercle dart, Paris, 1988.
- Journal, 1932-1947 (extraits) Cahiers du Muse national dart moderne, Centre George
Pompidou, Paris. Numro spcial Paris-Paris, 1937-1957, No 9, 1982, pp. 42-9.

Didi-Huberman, Georges, Images malgr tout, Les ditions de Minuit, Paris, 2003.

Dorlac, Bertrand-Laurence, L'ordre Sauvage: Violence, Dpense et Sacr dans l'art des annes
1950-60, Gallimard, Paris, 2004.

Estienne, Charles, Pour et contre l'art abstrait, Cahier des Amis de l'art, No 11, Les Amis de l'art,
Paris, 1947.

Finkielkraut, Alain, Le juif imaginaire, ditions Seuil, Paris, 1980. Translated as The Imaginary
Jew by Kevin O'Neill and David Suchoff with an introduction by David Suchoff, University
of Nebraska, Lincoln, 1997, c1994.
- Nous autres, modernes, Ellipses / cole Polytechnique, Paris, 2005.

Foster, Hal (ed.), Art since 1900, Yve-Alain Bois, Rosalind Krauss, Benjamin H. D. Buchloh, Entry
1955b, The Le mouvement show at the Galerie Denise Ren in Paris launche
kineticism. Thames and Hudson, London, 2004, pp. 37984.

Hocquenghem, Guy, Le dsir homosexuel, ditions Universitaires, Paris, 1972 and Librairie
Arthme Fayard, 2000.

Joray, Marcel, Soto, ditions du Griffon, Neuchtel, 1984.

Kedward, Rod, La Vie en Bleu: France and the French since 1900, Allen Lane: Penguin Books,
London, 2005.

Khilnani, Sunil, Arguing Revolution: The Intellectual Left in Postwar France, Yale University
Press, New Haven and London, 1993.

Kofman, Sarah, L'enfance de l'Art, Payot, Paris, 1970.
- Camera Obscura de l'idologie, ditions Galile, Paris, 1973.
- L'nigme de la femme: La femme dans les textes de Freud, ditions Galile, Paris, 1980.
- Le respect des femmes, ditions Galile, Paris, 1982.
- Paroles suffoques, Editions Galile, Paris, 1987.
- Sductions, De Sartre a Hraclite, ditions Galile, Paris, 1990.
- avec Jean-Yves Masson, Don Juan ou la refuse de la dette, ditions Galile, Paris, 1991.
258
- Le mpris des Juifs, Nietzsche, les Juifs, lantismitisme, ditions Galile, Paris, 1994.
- L'imposture de la beaut, ditions Galile, Paris, 1995.
- Rue Ordoner/Rue Labat, ditions Galile, Paris, 1997.

Lacan, Jacques, Le stade du miroir comme formateur de la fonction du Je, crit I, ditions du
Seuil, Paris, 1966, pp. 89-97.
- The mirror stage as formative of the function of the I as revealed in the psychoanalytical
experience, crits: a selection, translation Alan Sheridan, Tavistock, Routledge, 1977, pp.
1-7.

Lefebvre, Henri, La vie quotidienne dans le monde moderne, Gallimard, Paris 1968.
- La pense marxiste et la ville, Casterman, Tournai, 1972.
- La production de l'espace, Editions Anthropos, Paris, 1974.
- 'Autour deux dates', Paris-Paris, 1937-1957, crations en France, exhibition catalogue,
Centre Georges Pompidou, Paris, 1981, p. 404-8.


Lvinas, Emmanuel, 'Existentialism and Anti-Semitism' (1947), October 87, Winter 1999, pp. 27-
31.
- Difficile libert, ditions Albin Michel, Paris, 1963.
- Totalit et infini, Essai sur lextriorit, Kluwer Academic, 1971. First published under the
same title by Martinus Nijhoff, La Haye, 1961.
- Autrement qutre ou au-del de lessence, Martinus Nijhoff, 1978.
- Humanisme de lautre homme, Fata Morgana, 1972.

Lvy, Bernard-Henri, Le sicle de Sartre, Grasset, Paris, 2000.

Lyotard, Jean-Franois, La condition postmoderne: rapport sur le savoir, ditions de Minuit, Paris,
1979; Translated as, The postmodern condition: a report on knowledge, Geoff Bennington
and Brian Massumi, Manchester University Press, Manchester, 1984.
- Les Immatriaux : Epreuves d'criture, Centre Georges Pompidou, Paris, 1985. Published
in conjunction with the exhibition "Les immatriaux", presented by the Centre de cration
industrielle, held March 28-July 15, 1985 at the Grande galerie of the Centre national d'art
et de culture George Pompidou.
- Le diffrend, Les ditions de minuit, Paris, 1988.

Malherbe, Anne, L'paisseur sensible: la matrialit dans l'art sur la scne Parisienne entre 1944
et 1965, Ph.D thesis, Universit de Paris I, Panthon-Sorbonne, (Institut d'Art et
d'Archologie), 2004.

Merleau-Ponty, Maurice, Lil et lesprit, Folio essais, dition Gallimard, Paris, 1964.
- Sens et non-sens, Les ditions Nagel, Paris, 1966.
Phnomnologie de la perception, ditions Gallimard, Paris, 1945.

Millet, Catherine, L'art contemporain en France, Flammarion, Paris, 1987.
- Conversations avec Denise Ren, A. Biro, Paris, 1991.
- La vie sexuelle de Catherine M., ditions du Seuil, Paris, 2001.



259
Pierre, Arnauld, Soto, exhibition catalogue, Galerie nationale du Jeu de Paume, Le Seuil, Paris,
1997.
- with Emmanuel Guigon, Loeil moteur: Art optique et cintique, 1950-1975, exhibition
catalogue, Muse dart Moderne et Contemporain, Strasbourg, 2005.
Poliakov, Lon, Histoire de lantismitisme, Calmann-Lvy, Paris, 1955.

Richard, Simon, Le Corbusier and the Concept of Self, Yale University Press, New Haven and
London, 2003.

Rousseau, Jean-Jacques, Essai sur lorigine des langues, ditions Gallimard, Paris, 1990.
- Discours sur lorigine et les fondements de lingalit parmi les hommes, Folio Gallimard,
Paris, 1969.
- Rveries du promeneur solitaire, Folio Gallimard, 1972.
- Les Confession, prface de J.-B. Pontalis, Folio Gallimard, 1973.

Schechter, Ronald, Obstinate Hebrews : Representations of Jews in France, 1715-1815, University
of California Press, Berkeley, Los Angeles, London, 2003.

Schor, Naomi, 'Anti-Semitism, Jews and the Universal', October 87, Winter 1999, pp. 107-16.

Salm-Salm, Marie-Amlie zu, Echanges artistiques franco-allemands et renaissance de la peinture
abstraite dans les pays germaniques aprs 1945, prface de Pierre Soulages, Harmattan,
Paris, 2003.

Sartre, Jean-Paul, La nause, Edition Gallimard, 1938.
- Limaginaire, Folio essais, Edition Gallimard, Paris 1940.
- Rflexions sur la question juive, Gallimard, Paris, 1946.
Critique de la raison dialectique, Questions de mthode, Gallimard, coll. Bibliothque de
philosophie, Paris, 1985, p. 16-32. First publication Gallimard, Paris, 1960.
- LIdiot de la famille, ditions Gallimard, Paris, 1988. First publication ditions Gallimard,
Paris, 1971. Translated as The Family Idiot, Vol. 2, translation Carol Cosman, University of
Chicago Press, Chicago and London, 1987.

Seuphor, Michel, L'art abstrait, Vol. 1-5, Maeght diteur, Paris, 1972.

Solomon-Godeau, Abigail, Male Trouble: a crisis in representation, Thames and Hudson, London,
1997.

Starobinsky, Jean, Jean-Jacques Rousseau, La transparence et lobstacle, Plon, Paris, 1957.

Suleiman, Susan, 'Re-reading Rereading: Further Reflexions on Sartre's Reflexions', October 87,
Winter, 1999, pp. 129-38.

Virilio, Paul with Claude Parent, Architecture Principe: 1966 and 1996, ditions de l'Imprimeur,
Besanon, 1996.

Winock, Michel, Nationalism, Anti-Fascism and Fascism in France, translation Jane Marie Todd,
Stanford University Press, Stanford, California, 1998.

Wolf, Joan B., Harnessing the Holocaust: The politics of Memory in France, Stanford University,
Stanford, California, 2004.
260
Germany


Theodor W. Adorno, Aesthetische Theorie, Gesammelte Schriften, 2d ed.,
Vol 7, Suhrkamp Verlag, Frankfurt am Main, 1972.
- Aesthetic Theory, translation C. Lenhart, Routledge & Kegan, London, 1984.
- Kulturkritik und Gesellschaft, in Prismen, Suhrkamp Verlag, Frankfurt am Main, 1955.
- Cultural criticism and society, Prisms, translation Samuel and Shierry Weber, Spearman,
London, 1967.

Ankum, Katharina Von, Women in the Metropolis, Gender and Modernity in Weimar Culture,
University of California Press, 1997.

Baigell, Matthew and Milly Head, (eds.) Complex Identities, Jewish Consciousness and Modern
Art, Rutgers University Press, New Brunswick, New Jersey and London, 2001.

Brenner, Michael, In Search of Jewish Community: Jewish Identities in Germany and Austria,
1918-1933, Michael Brenner and Derek J. Penslar (eds.), Indiana University Press,
Bloomington and Indianapolis, 1989.
- Nach dem Holocaust: Juden in Deutschland, 1945-1950, C.H. Beck, Munich, 1995.
Translation, After the Holocaust: Rebuilding Jewish Lives in Postwar Germany, Princeton
University Press, Princeton, 1997.
- The Renaissance of Jewish Culture in Weimar Germany, Yale University Press, New Haven
and London, 1996. German translation, Jdische Kultur in der Weimarer Republik,
C.H.Beck, Munich, 2000.
- Jewish Emancipation Reconsidered: The French and German Models, Michael Brenner,
Vicki Caron and Uri R. Kaufmann (eds.), Mohr Siebeck, Leo Baeck Institute, London,
2003.

Bruhns, Maike, Kunst in der Krise, Band 1 Hamburger Kunst im "Dritten Reich" und Band
2 Knstlerlexikon Hamburg 1933-1945, Doelling und Calitz Verlag, Hamburg, 2001.

Brger, Peter, Theorie der Avantgarde, Suhrkamp Verlag, Frankfurt am Main, 1974.
- Theory of the Avant-Garde, translation Michael Shaw, Manchester University Press,
Manchester, 1984.

Dominick LaCapra, Representing the Holocaust: History, Memory, Trauma, Cornell University,
1987.
- Revisiting the Historians' Debate, History and Memory, No. 9, Fall 2001, pp. 80-112.

Jacques Derrida, 'Interpretations at War, Kant, the Jew, the German', Institutions of Interpretation,
New Literary History, vol. 22, no. 1, Winter, 1991, pp. 39-95.

Freud, Sigmund, On Narcissism: An Introduction, (1914), Standard Edition of the Complete
Psychoanalytical Works of Sigmund Freud, translation James Strachey, Vol. 14, p. 67-102.
- Psycho-analytic Notes on an autobiographical account of a case of Paranoia (Dementia
Paranoides) (1911), Schreber case, Standard Edition of the Complete Psychoanalytical
Works of Sigmund Freud, translation James Strachey, Vol. 12, p. 3-82.
- Fetishism (1927), the Standard Edition of the Complete Psychological Works of Sigmund
Freud, translation James Strachey, vol. 21, pp. 149-57.

261
Gillerman, Sharon, The Crisis of the Jewish Family in Weimar Germany, In Search of Jewish
Community: Jewish Identities in Germany and Austria, 1918-1933, Michael Brenner and
Derek J. Penslar (eds.), Indiana University Press, Bloomington and Indianapolis, 1989, 176-
99.

Habermas, Jrgen, Die Neue Unbersichlichkeit, edition Suhrkamp, Frankfurt am Main, 1985.
- Zwischen Naturalismus und Religion: Politische Aufstze, Suhrkamp Verlag, Frankfurt am
Main, 2005.

Heissenbttel, Helmut, Stuttgarter Architektur, Deutsche Verlags-Anstalt, Stuttgart, 1979.

Hofmann, Klaus, Poetry after Auschwitz Adornos Dictum, German Life and Letters, Vol.
58, No. 2, April 2005, pp. 182-94.

Honisch, Dieter, Uecker, translation Robert Erich Wolf, Harry N. Abrams, Inc. Publishers, New
York, 1989. First published in German by Ernst Klett Verlag, Stuttgart, 1983.

Itten, Johannes, Design and Form, the Basic Course at the Bauhaus, Thames & Hudson, London,
1964. First published in German as Mein Vorkurs am Bauhaus. Gestaltung und
Formenlehre, Otto Maier Verlag, Ravensburg, 1963.

Jay, Martin, Should Intellectual History Take a Linguistic Turn? Reflections on the Habermas-
Gadamer Debate, LaCapra, Dominick and Steven L Kaplan (eds.), Modern European
Intellectual History, Cornell University, Ithaca and London, 1982, pp. 86-110.

Judaken, Jonathan, Being Witness to the Differend: Jean Francois Lyotard: Postmodern
Intellectuals and "the Jew", Studies in Contemporary Jewry, Vol. XVI, Jews and Gender:
The Challenge to Hierarchy, Oxford University Press, 1997.

Jrgen Joedicke, Stuttgarter Architekturschule, Kramer Press, Stuttgart, 1995.

Kaplan, Marion, Jewish Women in Nazi Germany before Emigration, Between Sorrow and
Strength: Women Refugees of the Nazi Period, Sybille Quack, (ed.), Cambridge University
Press, 1995, pp. 11-50.

Mahlow, Dietrich, 'Gego's Rume', Frankfurter Allgemeine Zeitung August 23, 1982.
- Spielraum-Raumspiele, exhibition catalogue, Alte Oper, Frankfurt am Main, 1982.

Samuel Moyn, 'German Jewry and the Question of Identity: Historiography and Theory', Leo Baeck
Institute Yearbook, Secker and Warburg, London, 1996, pp. 291-308.

Pass Freidenreich, Harriet, Gender, Identity & Community, Michael Brenner and Derek J. Penslar
(eds.), In Search of Jewish Community: Jewish Identities in Germany and Austria, 1918-
1933, Indiana University Press, Bloomington and Indianapolis, 1989, pp. 154-75.

Popper, Frank, Die Kinetische Kunst, Verlag M. Du Mont Schauberg, Cologne, 1987. First
published in French and translated into English as The Origins and Development of Kinetic
Art, translation Stephen Bann, Studio Vista, London, 1969.

Said, Edward W., Reflections on Exile, Reflections on Exile, Granta Books, London, 2000, p. 173-
86.
262

Steingraeber, Erich (ed.), Deutsche Kunst der 20er und 30er Jahre, Bruckmann Verlag Mnchen,
1979.

Jutta Vinzent, Conclusion: Exile and Postcolonial Discourse, Identity and Image: Refugee artists
from Nazi Germany in Britain (1933-1946), Schriften der Guernica Gesellschaft, Weimar,
2006, pp. 167-75.





Exhibition catalogues


Pittura 70, Limmagine attiva, catalogue of special exhibition, 35th Biennale di Venezia, 1970.

Ricerca e Progettazione, catalogue of special exhibition, 35th Biennale di Venezia, 1970.

Bewogen Beweging, exhibition catalogue, Stedelijk Museum, Amsterdam and Moderna Museet,
Stockholm, 1961.

Directions in kinetic sculpture, preface George Rickey, University Art Museum and the Committee
for Arts and Lectures, University of California, Berkeley, 1966.

El arte abstracto y la Galera Denise Ren, Centro atlantico de Arte Moderno, Las Palmas de Gran
Canaria, 2001.

Das Frhe Bauhaus and Johannes Itten, Thomas Fhl (ed.), exhibition catalogue, Kunstsammlung
zu Weimar, Verlag Gerd Hatje, 1994.

Force Fields, Brett, Guy (ed.) exhibition catalogue, Hayward Gallery, London, 2000.

Gego arquitecto, exhibition catalogue, Fundacion Gego, Gerencia Sala, TAC, Caracas, 2006.

Gego. Obra Completa, 1955-1990, Fundacin Cisneros, Fundacin Gego, Fundacin Museo de
Bellas Artes, Caracas, 2003.

Gego: Between Transparency and the Invisible, Mari Carmen Ramrez, Josefina Manrique,
Catherine de Zegher, Museum of Fine Arts, Houston, 2006.

GEGO. Desafiando Estructuras, exhibition catalogue with essays by Mnica Amor, Yve-Alain
Bois, et al., Fundao Serralves, Porto and Museo dArt Contemporani de Barcelona, 2006-7.

Heterotopias, medio siglo, sin-lugar, 1918-1968, exhibition catalogue, Mari Carmen Ramrez (ed.)
Madrid, Museo Nacional Centro de Arte Reina Sofa, 2000.

Inverted Utopias: avant-garde art in Latin America, Mari Carmen Ramrez and Hctor Olea,
exhibition catalogue, Museum of Fine Arts Houston, Texas, Yale University Press, 2004.

263
La Nouvelle Tendance, Zagreb and Paris, exhibition catalogue, Muse darts Dcoratifs, Paris,
1964.

Licht und Bewegung = Lumire et mouvement : Kinetische Kunst, exhibition catalogue, Kunsthalle
Bern, 1965.

Licht und Bewegung: Kinetische Kunst, exhibition catalogue, Kunsthalle Dsseldorf, Kunstverein
fr die Rheinlande und Westfalen, Dsseldorf, 1966.

Paris-Paris, 1937-1957, crations en France, exhibition catalogue, Germaine Viatte commissaire de
lexposition, Centre Georges Pompidou, Paris, 1981.

Premises, exhibition catalogue, contributions by Benjamin Buchloh, et al., Guggenheim Museum,
New York, 1998-1999.

Re-Aligning Vision: Alternative Currents in South American Drawings, Huntington Art gallery,
University of Texas, Austin, 1997.

The Responsive Eye, exhibition catalogue, William C. Seitz curator, the Museum of Modern Art,
New York, in collaboration with the City Art Museum of St. Louis, 1965.

Soto, exhibition catalogue, 21 May-30 June, Kunsthalle Bern, Bern, 1968.

Soto, exhibition catalogue, with contributions by Arnauld Pierre, Daniel Abadie, Franoise
Bonnefoy, Sarah Clement, Isabelle Sauvage, Galerie nationale du jeu de paume, Le Seuil, Paris,
1997.

Jesus Rafael Soto : visione in movimento, Cinisello Balsamo (Milano) : Silvana, 2006. Hans-Ulrich
Obrist, et al. Catalogue of an exhibition held at the Museo Tamayo Arte Contemporneo, Mexico
City, 10 November 2005 - 30 April 2006, Fundacin Proa, Buenos Aires, 13 June - 17 September
2006 and GAMeC-Galleria dArte Moderna e Contemporanea, Bergamo, 13 October 2006 - 25
February 2007.

Thinking the line, Gego 1957-1988, essays by Peter Weibel and Nadja Rottner, Hatje
Cantz, Frankfurt, 2006.

ZERO, exhibition catalogue, originally published in Germany 1958 and 1961. English translation
added in 1970 and republished by MIT Press, Cambridge Massachusetts, 1973.

Carlos Ral Villanueva: un moderno en sudamrica, Galera de Arte Nacional, Juan Pedro Posani
(ed.), exhibition catalogue, IV Bienale de Arquitectura in So Paulo and at the Galera de Arte
Nacional in Caracas in 1999-2000.

Zeitgeist: Internationale Kunstaustellung Berlin 1982, exhibition held Martin-Gropius Bau, Berlin,
Frlich & Kaufmann, Berlin, 1982.

Zero : internationale Knstler-Avantgarde der 50er-60er Jahre : Japan, Frankreich, Italien,
Deutschland, Niederlande-Belgien, die Welt, exhibition catalogue, Jean-Hubert Martin Curator,
Museum Kunst Palast, Dsseldorf and Muse d'Art Moderne, Saint-Etienne, 2006-2007.