The work of Cynthia Gutierrez denotes a constant search to analyze memory at different levels, generating tensions or fissures in established schemes. Her reflections and processes depart from situations of conflict; from indefinite, unstable terrains with a vulnerable condition that allows movement in multiple directions. From fragments, she reconfigures images that alter habitual trajectories and destabilize structures offering alternatives that simultaneously operate between reality and fiction. She articulates historical elements from a new posture with distorted chronologies that evidence the impossibility of generating accurate memories, and reveal the transience of history.
With a background in Visual Arts at the University of Guadalajara she has had several solo exhibitions such as Paráfrasis del estrago, Museo de Arte Raúl Anguiano (2016, Mexico), Coreografía del colapso, Proyecto Paralelo (2014, Mexico), Notas de Carnaval, MAZ (2011, Mexico), Escuela para cadáveres, Museo de las Artes (2008, Mexico), and has participated in group exhibitions such as Social Contract, Izolyatsia Platform for Cultural Initiatives (2016, Ukraine), Overburden, CCS Bard Hessel Museum (2016, EUA), A Certain Urge (Towards Turmoil), EFA Project Space (2016, USA), Reconstrucción, Museo de Arte de Zapopan (2016, Mexico), Como fantasmas que vienen de las sombras… y en las sombras, se van, ESPAC (2015, Mexico), Objectsfoodrooms, Proyecto Paralelo (2015, Mexico), Celemania, Frac des Pays de la Loire (2014, France); the Berlin Biennale 8, KW Institute for Contemporary Art (2014, Germany), Algunas Lagunas, Proyecto Paralelo (2013, Mexico City), Crossing Boundaries, II Moscow International Biennale For Young Art (2010, Russia), and Hecho en casa, Museo de Arte Moderno, (2009, Mexico). She was invited to the Frac des Pays de la Loire 28th International Ateliers (2014, France), the A+D Arte y Desarrollo residency at Laboral Centro de Arte (2009, Spain), and received the Jóvenes Creadores FONCA grant (2013-2014). She is currently a member of SNCA grant (2016).