Leather Imaginary Continents
Gabriela Gutierrez
All the time I looking for the epidermis of things: the bark, of stones, paint or other materials. The reason for the existence of that surface. Has a history, has seen many things, events that result in signs and marks that have to do with condensation and concentration time on a surface that appears impregnable.
The skin has memory. The memory is embedded in our skin, our whole body, face, hair.
There are certain elements that play a while in the head to become real, to make ideas that assume a shape. This goes through a gestation period. Suddenly, one finds that he was seeking.
So he found the skins that make these islands in the process of finding your location, topographical, biographical and aesthetic.
first thing I attention was the smell given off by the fur shop where they were. I referred back to a childhood memory. Something between manure odor penetrating damp grass, open space and clear skies, to silence. Then I had much more violent images. The destazadero, the mixture of blood, moaning and fear. Cattle formed in a narrow concrete maze that led to his impending end. They all knew what would happen.
look closely at the markings forged iron and fire, the cracks, where the skin callus rested (as if a movie is showing in my head) acquiring images of people arrived lamps or articles of human or animal skin, concentration camps, human sacrifice rituals performed to appease the fear, primitive people sheltering from the weather, snatching life cover to feed.
The store bought sand-colored leather pieces imagining a group of islands, a formation of grazing cattle, sand bodies. I thought to restore its sagging through a new support and rebuild this theft to evoke a piece of the epidermis of the globe. A geographical area that could acquire new connotations, or reflection measurements. Noted that escapes the attention everyday.
Sometimes I think of an elephant graveyard and how their descendants meet periodically to honor his remains.
I think part of what I do is to restore something in this world, metaphorically at least-that hopelessly lost. Although it may seem useless, claiming a place for the fragile fabric of life, dignity, imagination, memory housed in the remains and our personal records. In the remains, in short, of our humanity. May claim a remote but not waivable right to hope.
Leather Imaginary Continents
In memory of Juan José Saer
Lelia Driban
There are episodes in the personal history of each crop that, at times clearly in memory, this mobile jar, without borders or fixed background, which zigzags between known, the known half and the unknown. Half the known and the unknown are instances of false and not simultaneously. Not because "the known half-glimpsed what is the perfect place to curl desire and delusion." The unknown has the abstract density and an absence, however, remains in the innermost layers of the mind belongs to us, a part of us like a bone stuck in the edge of a rock.
elusive Somewhere implicit in the evocative frame saved by Gabriela Gutierrez, came the first sign associative chain which was the skin, which resulted in a of the key pieces displayed in their current production: the carpet where repeated photographically, as a visual phrase, the work in the field: there is seen to penetrate in a row won by the sleeve to be washed, milked or slaughtered. Inevitably arises here the memory of "The Slaughterhouse," a novel Argentina capital in the nineteenth century literature written by Esteban Echeverría.
But if the Southern Cone author addresses the issue by a naturalism that incarnates the essence of evil in all its utilitarian and culturally accepted size, the Mexican artist decreases the voltage of cruelty in his treatment of the same subject. And it does so through the use Warholian to neutralize or reduce the tension through serialization of the three or four images that fill the mat.
From that location, this piece large opening makes explicit that which vibrates between "hallucination" and "desire." In other words, confers a status on biographical narrative sequence previously subsumed in the doze of memory. At the same time, intermediary process that goes from the event itself (the real) to photographic reproduction and printing final (reality another), establishing a chain homologous so mild, barely noticeable, with the sinuous ellipses that runs underground strata of the inextricable angles formed by the swing of thinking.
semivigilia And among so many, the desire to expand into a detour suggested by the skin objects and debris, animal hair and human hair embedded in some paintings to highlight and remember his incisive expressiveness in his face hidden lives, the look, the sound of death: another deck of the detour ... and emptiness. In this context, include high-contrast action: the tables, even with the disturbing presence of waste slid more lyrical poetic function.
Is it possible to compare with the fictional hallucination? The spectral figure whose skirt is a cascade of hair, a mix of girls and beheaded witch seems to say yes.
The other core of the exhibition consists of a succession of islands made with the same skin that builds other objects. From this common point of inflection generated by the derivative of the material body, permeates a twist to reemerge under the purview of a topography made up, an area of \u200b\u200beroded land in its depths in riddles that have symbolic links with the secret memory. What is an island but a tear of the continent? Just tear? No, that gap can be reborn as a compass oriented regions that still have an outline of light.
Finally: Gabriela Gutierrez accepted the risk to consummate a work that plays with the limits of the viscera.
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