In their concepts and objectives, Gabriela Mossutto's diverse creative proposals must be seen as polymorphous and pluri-dimensional; they cannot be chalked up to a single intention, nor do they flow in just one direction. With regard to intentionality, her proposals should be understood as signs rather than as political activism. Meanwhile, on the constructive level her production revolves around the convergence of several contrasting and even conflicting vectors in a single vertex: the sculptural edifice. The precarious quality of the recycled materials, their temporary, fungible, unstable nature, contrasts with the determination to erect sculptural procedures from those same frail components, creating spaces defined primarily by their will to endure.

Her studies are abstract scale models made out of paper, cardboard and small bits of wood. Thus, those shelters, which structurally tend towards cubic forms, are attenuated by mono-pitched or gabled roof elements of curving, sinuous, dynamic, morbid forms. Only rarely does the sculptural facet prevail over the volumetric by asserting its traditional landmark status; in some of the pieces it even acquires a totemic, statuary presence, like a marker or signal erected to draw our attention. Such is the case of 009 (2015). 

One of the most interesting works in the series De refugios y otros espacios consists of a wooden plank leaning against a wall, barely held in place by a strip of black duct tape. This laconic yet vital ode to the minimum artistic expression suggests a synthesis of influences beyond Arte Povera, bringing us closer to material recycling and freedom in the constructive guidelines of the object.

Iván de la Torre Amerighi

The exhibition catalogue features an essay by Iván de la Torre Amerighi, entitled 'Gabirela Mossutto. Starting position: Dynamics of exchange'.

Visit guide: 2 april, 18 h.

Educational workshop: 2 april, 11.30 to 13.00 h.