Following meticulous and self-created methodologies, Gabriel de la Mora researches, collects, classifies, catalogs, and manipulates remarkably diverse materials. These materials are familiar, sourced from quotidian objects—his ongoing series The weight of thought, for example, repurposes leather and rubber shoe soles. de la Mora’s materials of choice are those often considered waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, the artist explores finitude and permanence, the passing of time, it’s bracketing, and the transformation of matter and energy alike. The formal outcome of these processes plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the resulting bodies of work complicate theoretical and historical art terms (the ready-made, the objet-trouvé, the monochrome, the peinture en plein air, among others). As such, they establish an ironic spin on the abstract and minimalist aesthetics and inquire about the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist’s hand? This apparent negation of painting and other ontological musings formulated by de la Mora’s oeuvre is extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice in which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born on September 23, 1968 in Mexico City, where he lives and works. He earned an MFA in Painting (2001-03) from Pratt Institute, NY and a BFA in Architecture (1987-91) from Universidad Anáhuac del Norte, Mexico City. He has been a Fulbright García-Robles grant recipient, a grantee from the Jacques and Natasha Gelman Foundation, and a member of the National System of Creators-FONCA (2013-15), Mexico.
His work is part of public and private collections in Mexico and abroad, among them: Fundación/Colección JUMEX, Museo de Arte Contemporáneo Internacional Rufino Tamayo, Museo de Arte Carrillo Gil, Museo Universitario Arte Contemporáneo-MUAC, and Museo de Arte Moderno, Mexico City; Museo Amparo, Puebla, Mexico; Museum of Contemporary Art-MOCA, Los Angeles, CA; The Museum of Fine Arts, Houston, TX; El Museo del Barrio, NYC, NY; Albright-Knox, Buffalo, NY; Perez Art Museum, Miami, FL; Speed Art Museum, Louisville, KY; Centro Gallego de Arte Contemporáneo, Santiago de Compostela; Colección Banco de la República and Museo de Arte Moderno de Bogotá, Bogotá; Museo de Arte Latinoamericano-MALBA, Buenos Aires.
He is represented by PROYECTOSMONCLOVA (Mexico City), Timothy Taylor (London), Sicardi Ayers Bacino (Houston) and PERROTIN (Paris, New York, Seoul, Tokyo, Shanghai, and Hong Kong).
Cien del MUAC exhibition is structured as multiple discourses, guided not by a thematic line, but by the relevance that certain works and authors already have in the consciousness of contemporary art in our country, where each piece addresses in itself a story about the museum’s collection and contemporary artistic practices.
Artistas: Carlos Aguirre, David Alfaro Siqueiros, Francis Alÿs, Carlos Amorales, Julieta Aranda, Carlos Arias Vicuña, Marcela Armas, Francois y Bernard Baschet, Erick Beltrán, Maris Bustamante, Tania Candiani, Mónica Castillo, Miguel Castro Leñero, Arnaldo Coen, Armando Cristeto Patiño, Minerva Cuevas, Ximena Cuevas, Iván Edeza, Felipe Ehrenberg, Juan Francisco Elso, Helen Escobedo, Manuel Felguérez, Claudia Fernández, Julio Galán, Fernando García Ponce, Mario García Torres, Javier de la Garza, Gelsen Gas, Gunther Gerzso, Alberto Gironella, Thomas Glassford, Mathias Goeritz, José Miguel González Casanova, Gráfica del 68, Lourdes Grobet, Silvia Gruner, Yolanda Gutiérrez, Enrique Guzmán, Jan Hendrix, Melquiades Herrera, Hersúa, Roberto Huarcaya, Graciela Iturbiude, Enrique Jezik, Yioshai Jusidman, Leandro Katz, Perla Krauze, Myra Landau, Magali Lara, Pedro Lasch, Daniel Lezama, Rafael Lozano-Hemmer, Ernesto Mallard, T<eresa Margolles, César Martínez, Daniel Joseph Martínez, Mónica Máyer, Enrique Metinides, Erick Meyenberg, Sarah Minter, Grupo Mira, Gabriel de la Mora, Rodrigo Moya, Ricardo Nicolayevsky, Yoshua Okón, Gabriel Orozco, Damián Ortega, Rubén Ortiz Torres, Martha Pacheco, Marta Palau, Fernando Palma Rodríguez, Adolfo Patiño, Grupo Proceso Pentágono, Vicente razo, Ricardo Regazzoni, Pedro Reyes, Carla Rippey, Manuel Rocha Iturbide, Miguel Rodríguez Sepúlveda, Vicente Rojo, Graciela Sacco, Kazuya Sakai, José Luis Sánchez Rull, Guillermo Santamarina, Semefo, Teresa Serrano, Santiago Sierra, Melanie Smith y Rafael Ortega, Taller de Documentación Visual, Tercerunquinto, Francisco Toledo, Pablo Vargas Lugo, Germán Venegas, Lorena Wolffer y Nahum B. Zenil.
Catalog available in the museum shop as well as downloadable online on the MUAC website.
12 years after the last revision of the collection of this museum, Cien del MUAC explores its artistic and documentary heritage to share with the public works that are already referents of the collective imagination and thought. With the participation of 96 artists and collectives, we selected key works in the history of contemporary Mexican art, with a variety of genres and formats in a period of a little more than half a century. This catalog also includes recently acquired pieces that strengthen the artistic and cultural heritage of UNAM.
Gabriel de la Mora @ Art Basel Hong Kong 2021 / PROYECTOS MONCLOVA Booth 1D55 21.05 – 23.05.2021
We are thrilled to announce our participation at Art Basel Hong Kong with a solo booth by Gabriel de la Mora.
The series Neornithes ventures into the realm of animal-sourced materials as it employs industrially dyed turkey feathers presented in 13 different hues. For this series de la Mora implements a distinctly rigorous methodology: he selects a reduced area of each feather, cuts it, and pastes it onto a paper. These squares are then arranged to build chromatic patterns inspired by modernist points of reference such as the work of artist Josef Albers.
Curator Tatiana Cuevas
Museo Amparo, Puebla, México.
28 de febrero al 31 de diciembre de 2021.
Abraham Cruzvillegas, Ana Roldán, Carlos Amorales, Cynthia Gutiérrez, Damián Ortega, Daniel Guzmán, Daniel Monroy Cuevas, Diego Berruecos, Dr. Lakra, Edgar Orlaineta, Edgardo Aragón, Eduardo Abaroa, Eduardo Terrazas, Erick Meyenberg, Fernando Palma, Francis Alÿs, Gabriel de la Mora, Gabriel Orozco, Gabriel Rosas Alemán, Germán Venegas, Jonathan Hernández, Jorge de la Garza, Jorge Satorre, José Dávila, Julio Galán, Lourdes Grobet, Magali Lara, Mariana Castillo Deball, Melanie Smith, Minerva Cuevas, Pablo Sigg, Pedro Reyes, Tercerunquinto, Teresa Margolles, Helen Escobedo y Vicente Rojo.
Timothy Taylor is pleased to announce our online presentation for Art Basel Miami Beach. The presentation brings together ten contemporary artists who explore the relationship between colour, shape and surface to create symbolic meaning.
Proyectos Monclova presents a selection of works by five Mexican artists from two different generations: Gabriel de la Mora (*1968), Helen Escobedo (1934- 2010), Fernando García Ponce (1933 – 1987), Edgar Orlaineta (*1972), and Eduardo Terrazas (*1936). Including two sculptures, four paintings, and four mixed media works, these five artists explore the history of modernity within Mexico through a continuous dialogue of works dating back to 1970.