Gabriela Agüero
1973, Buenos Aires, Argentina

2013 Bachelor of Visual Arts, Orientation in Engraving and Printed Art, IUNA
1998 National Prof. of Engraving, Esc Nac. Of Fine Arts P. Pueyrredón IUNA
1995 Master in Visual Arts, Esc Municipal de Bellas Artes Carlos Morel, Quilmes

His teachers were: Beccaría, Scannapiecco, Santander, N Villarreal, G Buratti.
Scholarships with A Scavinno and A Díaz Rinaldi

2019 H C D Morón
2016 Zero Space
2010 and 2012 CPA Morón
2008 French Alliance, Flores | Munic Morón
2007 HCD Morón | SAAP CABA
2006 CC L Marechal.Hurligham

2nd Prize Mini Print Cantabria, Spain, 2019
Special mention, CPA, Province of Buenos Aires 2017
2nd Grab Artvilo Award
2nd Mention, ANBA, Bonifacio del Carril Award, 2012
Mention Monocopy LIII Salon M Belgrano 2008
1st Mention Engraving: Munic San Fernando Room
1st Engraving Award, SAAP. 2006
Unique Mention: Hall A V P Pueyrredón. 2005

Gabriela Agüero



27.01.2020 to 31.01.2020

Gabriela Agüero, Argentinian artist, performs her second micro-Residence at ´ace, continuing her project "Vestigios".


One day I discovered in my workshop the iron and tin matrices I made when I was studying.
I had wrapped them in paper and kept carefully and 20 years later the matrices had rusted, stained, degraded and eaten away, however, I found beauty in them.
I thought about the action of having wrapped them, wanted to preserve them, keep them.
The rust stains, draws, says.
I wrapped the sheets again, this time with papers for engraving, and exposed them to the outdoors.

When I opened the wrappers, they had kept the memory of their experience: imprints, folds, tears, stains.
They suffered a metamorphosis, their origin could no longer be known.
Now they are objects that speak with their presence,
You can express yourself in a deeper way with an object that has emerged from an artistic fact.
At ´ace, I photographed the wrappers and began to take them to photolithography in a larger format, generating an image of the object, confirming its work status, and adding senses.

Some wrappers were torn and I wanted to preserve them, so I mounted them on paper for engraving.
I kept investigating ways to print with the rust, I scraped it, ground it, filtered it and mixed it with transparent ink, and also printed with transparent ink and sprinkled the rust on it.

In this project, the process became very important and almost impossible to unfold from the work, it played with time, with nature, or, rather, I submit myself to them.
To reprint them, I need to wait for the plates to release their rust, and to generate more imprints I must wait for nature to act, it is a cycle, like the cycle of life.

The matrices mutate at each stage of the process, they are objects that will be exposed, they are the work, they will continue to mutate.
I no longer try to represent the rust, but to play with the metamorphosis of time, with memory, with traces, remains, particles...

The Vestiges project is in process, I am still investigating and experimenting, and each result brings concepts to my discourse and opens up new possibilities.

See "Vestiges", first micro–Residency 2019