Ovarian Cyst Swollen Tender Breasts
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Perhaps the key concept for the last work of Gabriela Gutierrez is the reconstruction. It is no coincidence that the word immediately link it with the word rest. Between rest and recovery is more imminent relationship: two concepts-word feed, presuppose, alternating positions in the order of discourse, in the order of the work. Or in the disorder of both. Why work as an artist Gabriela Gutierrez revolves around the hair is present? Hair on wire fabric, hair and box integrated into the fabric, hair contiguous with the skin surface elements of human-animal body. The center-core computer is installed as the eyes and the rodeo. But there is waste, which was not installed, which was subtracted to the placement, which integrate the work of Gabriela Gutierrez a space, a passenger intercoms with the precarious center of what is installed. So the hair, a figure that is part of a whole-fragmented as a concept in This also fragmented, "is installed as a whole around which circulate the bodies around the bodies and looks, another moment of the entire body. This raises Gutierrez is a pressing issue: the dismantling of the world order posed by the art, which is dismantling itself, it is not known what the subject matter of priority, to be treated, which is designated as reference . The world to the table and the table at the outside of it. The same: the body part and the part to its outside, that's all, or that is all that reimburses the parties. Hence, fur is something that is exposed to signal its outside, its second degree-in this there is a value at stake: the question order, structure, the first given to art by a very expensive aestheticizing idealism Latin American backwardness can not live without that certainty, that no longer exists-which merges with promise of eternity. Hair is what is lost, falling, the primitive, which has no technique. As an element of second degree, hair reconstruction is the recovery of the residual of the fallen, what is offering, in a tissue-community memory, tribal, primitive life. The hair is woven on an unlikely object: a tube of wire, plastic mesh fabric, a painted canvas. On the other hand, side always likely horror, human skin served the Nazis for covering screens lamps, to filter the light intensity. The residual has no fixed location, no territory. It seems that is one feature: not only its inoperability this, his "not serve." Is coming then the need for awareness-point announced by the most radical art of the early twentieth century, as the experience of Marcel Duchamp objetual displacement mischaracterize objects into parts, parts of objects. Awareness is necessary for migration of objects to locations that give them-temporarily-hostel. Thus, fur-the name of the sample of Gabriela Gutierrez seems fake his own genealogy: a membership or, better, a provenance, a dog can be poured into your skin, a bunch of hair re-enter a tube or a small fence. The truth of the objects, not just the subjects, dream the dream of not being subject. Everything points out, not here, this is the same as the symbolic capital of art. Everything points out. Out as the place where he lives so that is no longer here, as the dwelling place of what we are out of sight. Eduardo Milan
Perhaps the key concept for the last work of Gabriela Gutierrez is the reconstruction. It is no coincidence that the word immediately link it with the word rest. Between rest and recovery is more imminent relationship: two concepts-word feed, presuppose, alternating positions in the order of discourse, in the order of the work. Or in the disorder of both. Why work as an artist Gabriela Gutierrez revolves around the hair is present? Hair on wire fabric, hair and box integrated into the fabric, hair contiguous with the skin surface elements of human-animal body. The center-core computer is installed as the eyes and the rodeo. But there is waste, which was not installed, which was subtracted to the placement, which integrate the work of Gabriela Gutierrez a space, a passenger intercoms with the precarious center of what is installed. So the hair, a figure that is part of a whole-fragmented as a concept in This also fragmented, "is installed as a whole around which circulate the bodies around the bodies and looks, another moment of the entire body. This raises Gutierrez is a pressing issue: the dismantling of the world order posed by the art, which is dismantling itself, it is not known what the subject matter of priority, to be treated, which is designated as reference . The world to the table and the table at the outside of it. The same: the body part and the part to its outside, that's all, or that is all that reimburses the parties. Hence, fur is something that is exposed to signal its outside, its second degree-in this there is a value at stake: the question order, structure, the first given to art by a very expensive aestheticizing idealism Latin American backwardness can not live without that certainty, that no longer exists-which merges with promise of eternity. Hair is what is lost, falling, the primitive, which has no technique. As an element of second degree, hair reconstruction is the recovery of the residual of the fallen, what is offering, in a tissue-community memory, tribal, primitive life. The hair is woven on an unlikely object: a tube of wire, plastic mesh fabric, a painted canvas. On the other hand, side always likely horror, human skin served the Nazis for covering screens lamps, to filter the light intensity. The residual has no fixed location, no territory. It seems that is one feature: not only its inoperability this, his "not serve." Is coming then the need for awareness-point announced by the most radical art of the early twentieth century, as the experience of Marcel Duchamp objetual displacement mischaracterize objects into parts, parts of objects. Awareness is necessary for migration of objects to locations that give them-temporarily-hostel. Thus, fur-the name of the sample of Gabriela Gutierrez seems fake his own genealogy: a membership or, better, a provenance, a dog can be poured into your skin, a bunch of hair re-enter a tube or a small fence. The truth of the objects, not just the subjects, dream the dream of not being subject. Everything points out, not here, this is the same as the symbolic capital of art. Everything points out. Out as the place where he lives so that is no longer here, as the dwelling place of what we are out of sight. Eduardo Milan 
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