Personal Structures 2024

Anamaría Gutiérrez de Piñeres

Otros 360° Gallery has been invited to participate in the seventh edition of Personal Structures 2024 in Venice.

The exhibition will showcase a selection of works by over a hundred emerg- ing and internationally renowned artists, as well as academic institutions from around the world, presenting their ideas on the theme of this edi- tion: Time, Space, and Existence. Rene Rietmeyer, artist and founder of the European Cultural Centre (ECC), envisioned a project where each artwork would be meticulously created from the reflection and consciousness of each artist, thus achieving a very personal work. Since its inception in 2012, the Personal Structures exhibition has taken place in Venice, Italy, as a contemporary art exhibition parallel to the Venice Biennale.

Organized by the ECC, it aims to document the diversity of contemporary art in today’s world. Its vision is to integrate artistic expressions from dif- ferent ideologies, transcending geographical barriers. The grand exhibition will open to the public on April 20th 2024, until November 20th 2024, in conjunction with the biennial. Otros 360° Gallery is participating with “Lo que no fue dicho” (What Has Not Been Said) an installation by Colombian artist Anamaría Gutiérrez de Piñeres, composed of hundreds of works in cold porcelain resembling sheets of paper.

What has not been said

Anamaría Gutiérrez de Piñeres

Memories can be distorted. They’re just an interpretation, they’re not a record, and they’re irrelevant if you have the facts.” (Nolan, C. 2000. Memento)

An archive made up of a series of what seems to be sheets of paper and words, is presented as a compilation of thoughts, which allows the artist to reconstruct memories of the past in the present.

The new artistic proposal of Anamaría Gutiérrez de Piñeres, involves a slow and careful pro- cess, in which cold porcelain is handled in such a way, that it ́s malleable and fragile nature is transformed into the thinness and subtlety of paper. Through the artist’s action of kneading the porcelain, the material takes on the characteristics of paper, onto which words are later trans-ferred, like traces of the past. Each of these words contains a personal and yet univer- sal mean-ing or message, daring to question those who observe and read them.

Each of these pieces that represent a variety of types of paper, is as particular as the very mo-ment in which they were created. The selection of words and phrases written on them, stem from the exercise of memory, where recollections, emotions, and experiences, are all contained and exist, by the very action of being written.

In this new work, Gutiérrez de Piñeres allows the material to speak, giving each piece the free- dom to take its time to dry and transform, accepting that it’s fragile nature will lead some of them to fracture, acting as an excuse that allows for the exercise of repairing them, to take place. In the same way, accumulations of pages spontaneously emerge where thoughts are reor-ganized, superimposed as layers of meaning in the sense that the importance lies in the intro-spective exercise of writing by the artist, subtracting value from the fact that they may or may not be read by the spectator.

In this way, these varied visual actions produce a fragile and forceful materiality, in which marks and memories accumulate, generating a whole internal universe that allows us to re- construct what was left unsaid.

Alejandra Fonseca

Artistic Project

In her artistic proposal ‘Lo que no fue dicho’ (What has not been said), Ana- maría Gutiérrez de Piñeres creates hundreds of pieces in cold porcelain that resemble sheets of paper. Some are smooth, lined, or squared, with words or without them. This is the first time that Gutiérrez de Piñeres al- lows the viewer to read and identify with certain words or messages, which are part of her creation.

Each delicate, light, and fragile piece functions on its own, but when joined, they transform into a large installation with an imposing presence. As a result, the artist manages to construct a map of lost memories, fostering a confrontation with her own existence, while at the same time inviting the viewer to participate in it.

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