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),PERROTIN (Paris, New York, Seoul, Tokyo, Shanghai, and Hong Kong), Timothy Taylor (London), Sicardi Ayers Bacino (Houston) and Simões de Assis (Curitiba, Brazil)
Guo Pei (b. 1967), China’s first couture artist, combines Chinese cultural heritage with international elements and artistic expression. Guo’s astonishing runway collections have impressed fashion and art audiences alike for almost 30 years. Presenting the first major exhibition of Guo’s work produced in China, M+ will showcase Guo’s key collections and early designs, highlighting her unique career connecting China and the rest of the world and the cultural symbols created through her sophisticated and visually dazzling practice. Working with the couturier and her studio, the exhibition presents a selection of garments shown to audiences in the region for the first time, creating a layered dialogue with the M+ Collections around visual imagination and workmanship. The exhibition foregrounds Guo Pei’s unique artistic style that resonates with imperial Chinese dress etiquette, European royal fashion, architecture, and the botanical world.
Helen Escobedo, Ángela Gurría, Aydeé Rodríguez López, Noé Martínez, Gabriel de la Mora, Hilda Palafox, María Sosa, Eduardo Terrazas, Germán Venegas.
La Maison de l’Amerique Latine
217 BD Saint-Germain, 75007 Paris, Francia
https://www.proyectosmonclova.com/fairs
https://mira-artfair.com
At their core, creating and looking at works of art are acts of care, from the artist’s labor to the viewer’s contemplation and appreciation. Storage, conservation, and display are also ways of tending to art. This exhibition invites visitors to explore how contemporary artists trace and address concepts of care through their materials, subjects, ideas, and processes.
More than 100 works from the MFA’s collection—including recent acquisitions and objects that have never been on view before—define, depict, and demonstrate many forms of care through five thematic groupings: threads, thresholds, rest, vibrant matter, and adoration. Gisela Charfauros McDaniel’s portrait of her mother, Tiningo’ si Sirena (2021), moves between intimacy and an attentiveness to larger concepts that are meaningful to the artist, like cultural inheritances and ecological interconnectivity. For his Sound Suit (2008), Nick Cave extended the lifespan of discarded objects by transforming them into a surreal, otherworldly costume that asserts the value of Black life. The intensive time and labor that goes into creating textiles and fiber art is evident in examples by Sheila Hicks, Howardena Pindell, and Jane Sauer. Through these works and many others visitors can consider how different forms of care may inspire new models for living and feeling—now and in the future.
https://www.mfa.org/exhibition/tender-loving-care
Gabriel de la Mora, Eduardo Terrazas, Germán Venegas, James Benjamin Franklin, Georgina Gratrix, Josué Mejía, Tercerunquinto
BOOTH 318
05.09.2024 – 08.09.2024
Javits Convention Center
429 11th Ave, Nueva York, NY 10001, US
FRIEZE SEOUL 2024 Gabriel de la Mora, Eduardo Terrazas, Yoshua Okón, Hilda Palafox, Alejandra Venegas, Edgar Orlaineta BOOTH C03 04.09.2024 – 07.09.2024
COEX Center 513 Yeongdong-daero, Gangnam-gu, 06164, Seoul
The Aspen Art Fair at the Hotel Jerome and 74tharts are thrilled to present A Place for Us, an expansive group preview exhibition curated by Laura Smith Sweeney of LSS Art Advisory. Opening on June 25th, the show features artworks by 12 artists working in a variety of media, from pulped law textbooks to blown glass. The artists, represented by Southern Guild, Patron, Praise Shadows and Perrotin, which will participate in the Aspen Art Fair, include Iván Argote, Jamal Cyrus, Gabriel de la Mora, Leslie Hewitt, Samuel Levi Jones, Caroline Kent, Zanele Muholi, Jean Shin, Yuri Shimojo, Stanislaw Trzebinski, Liat Yossifor, and Luyanda Zindela.
Gabriel de la Mora @ Art Monte Carlo Booth D4 / PERROTIN
July 6 – 7, 2024
Perrotin is pleased to return to artmonte-carlo with a selection of works by artists from the gallery’s roster including Daniel Arsham, Jean-Marie Appriou, Julian Charrière, Johan Creten, Gabriel de la Mora, Mathilde Denize, Jens Fänge, Laurent Grasso, Gregor Hildebrandt, JR, Gérard Schneider, Shim Moon-Seup, AYA TAKANO and Xavier Veilhan.
Art Paris Art Fair Booth B5 / PERROTIN
Grand Palais Ephemere, Champ-de-Mars
04 – 07 Abril 2024
GABRIEL DE LA MORA @ DALLAS ART FAIR BOOTH F2 PROYECTOS MONCLOVA
Booth F2
04.04.2024 – 07.04.2024
Fashion Industry Gallery
1807 Ross Avenue, Dallas, Texas 75201
Fabiola Iza
OUT OF FRAME
TEXTS
FABIOLA IZA
CECILIA FAJARDO HILL
EDITOR
FABIOLA IZA
IMAGE MANAGEMENT
ALFREDO GALLEGOS
EDITORIAL DESIGN
ESTEBAN GÉRMAN
COPYEDITING
ROBIN MYERS
GABRIEL DE LA MORA STUDIO
JORGE HERNÁNDEZ, MIGUEL HERNÁNDEZ, SANDRA MARTÍNEZ, GLADYS MAURICIO, KARINA MAURICIO Y ARTURO SOTO
Out of Frame is a monographic study of Gabriel de la Mora’s recent production. Consisting of three essays and accompanying images, the publication analyses the working methods that lie behind the artist’s material output. Instead of aiming to offer another reading of his series of works, mainly made of debris and discarded materials and which seek to erase the boundaries between drawing, painting, and sculpture. Thus this book distinguishes itself as contributing to the study of his working methods or processes rather than to an object-oriented focus on his finished artworks. Therefore, Out of Frame focuses on the influences that nourish de la Mora’s work along with the methodologies he devises to manipulate countless raw materials. The essays tackle questions regarding topics such as animism and the role of the collector, finitude, commodification and the ontology of the art object through the lens of the artist’s production. Fuera de Cuadro / Out of Frame will be the first in a series of digital publications that the artist will produce in collaboration with young curators and writers about his work, with this initial title also giving name to the budding series. The Fuera de Cuadro publication series seeks to to unveil the physical and mental processes entwined in De la Mora’s creative process. Each invited curator/writer will determine the scope of each book ultimately offering their interpretations on the “out of frame” theme.
Download the book here:
http://gabrieldelamora.com/fueradecuadro/fueradecuadro-eng.html
PROYECTOSMONCLOVA
PUBLICADO CON MOTIVO DE LA EXHIBICIÓN:
/ PUBLISHED ON THE OCASSION OF THE EXHIBITION:
Gabriel de la Mora: Entropías
06.02.2018 – 10.03.2018
−
© El artista, los autores, los fotógrafos,
y PROYECTOSMONCLOVA
© The artist, the authors, the photographers,
and PROYECTOSMONCLOVA
−
TEXTO / TEXT
Eliza Mizrahi Balas
FOTOGRAFÍA / PHOTOGRAPHY
Estudio Gabriel de la Mora
ASESORÍA EN CONSERVACIÓN
Ana Lizeth Mata
VIDEO
Javier Velázquez, Ramiro Chaves
IMÁGENES / IMAGES
Alfredo Gallegos
EDITORA / EDITOR
Elizabeth Calzado
TRADUCCIÓN DEL INGLÉS / ENGLISH TRANSLATION
Christopher Fraga
DISEÑO / DESIGN
Esteban Gérman
−
Impreso en México en los talleres de Offset
Rebosán / Printed in Mexico at the workshop
of Offset Rebosán
It is available at PROYECTOSMONCLOVA gallery.
Brett Littman - Jace Clayton.
The Drawing Center
July 15 – September 2, 2016
Main Gallery
Gabriel de la Mora
Sound Inscriptions on Fabric
Curated by Brett Littman
Drawing Papers 127
Essays by Brett Littman and Jace Clayton
ISBN 978 – 0 – 942324 – 97 – 6
To place an international order
Please contact to Bookstore Manager, Kate Robinson at krobinson@drawingcenter.org.
Willy Kautz
LO QUE NO VEMOS LO QUE NOS MIRA / WHAT WE DO NOT SEE, WHAT LOOKS BACK AT US
ISBN: 978-607-95918-4-7
Edición bilingüe: Inglés / Español, 236 páginas a color
Diseño: Nicolás Pradilla
Traducción: Richard Moszka (cap 1-5) / Michael Parker Stainback (cap 6-7)
Edición: Museo Amparo (2015)
Francisco Reyes Palma
El libro, Gabriel de la Mora, Originalmentefalso / Originallyfake encara una problemática que desborda la escena del arte contemporáneo pues, no obstante la magnitud de falsificaciones que saturan el mercado de arte, la crítica, la institución, la galería y el coleccionismo suelen optar por el silencio.
En la búsqueda obsesiva de materia prima para su proyecto de incorporar una serie de obras falsas a la esfera de la creación legítima, Gabriel de la Mora se sumerge en el complejo submundo del mercado negro del arte y mantiene contacto con una amplia gama de coleccionistas y con los archivos de algunas galerías, casas subastadoras y talleres de restauro que apoyan su propuesta.
Esta publicación es asimismo un intento por acercar al lector al proceso creativo de cada obra, de manera que su comprensión y disfrute se mantengan abiertos, sobre todo por tratarse de una estética agresiva, liminal, donde conviven las síntesis formales y las revisiones postconceptuales, el refinamiento y la abyección.
El intenso y prolongado diálogo entre Gabriel de la Mora y Francisco Reyes Palma, refiere a una exploración en los bordes de lo artístico, que muestra también otros modos de relación entre el artista y el crítico, las lógicas de exposición y la historia del arte. Exploración que aún se mantiene abierta.
Edición bilingüe, inglés y español.
112 páginas.
Co-editada por Conaculta y Literal Publishing.
Diseño de Nicolás Pradilla.
Traducción de Christopher Michael Fraga.
ISBN: 978-0-9897957-4-6 Literal Publishing
ISBN: 978-607-516-360-4 CONACULTA
Sergio Rodríguez Blanco y Gabriel de la Mora
Alegorías Capilares recibió el Premio Bellas Artes de Literatura Luis Cardoza y Aragón para Crítica de Artes Plásticas 2009. Sergio Rodríguez Blanco construye una travesía por el universo estético que despliega el pelo humano utilizado como materia para el arte en el trabajo del artista mexicano Gabriel de la Mora. Un viso de perversión palpita detrás del esteticismo y la sorprendente destreza técnica de algunas de sus obras realizadas con fibras capilares de seres humanos.
2011 | Primera Edición
160 páginas
Español
16.5 x 22.5 cm
Encuadernación: Pasta dura
ISBN: 978-607-7663-25-6
Editorial TRILCE Ediciones (2012)
Willy Kautz, Miguel González Virgen, Gilbert Vicario, Robert C. Morgan, María Minera y Gabriel de la Mora
Interpretar el trabajo artístico de Gabriel de la Mora es como buscar la huella de un crimen con la sospecha de que éste nunca tuvo lugar. En sus obras, la precisión y la ejecución parecen maniobras conceptuales a la vez que formales.
Si todo parece estar en su sitio, ¿qué es lo perturbador y lo maravilloso de su trabajo?, ¿qué es lo que nos conduce a una experiencia de lo siniestro? Su trabajo guarda relación con el lado oscuro de la psique, su lado interno, al margen de las proposiciones cínicas e irónicas tan comunes al arte contemporáneo.
Este libro recorre la obra de Gabriel de la Mora, su trabajo explora la identidad personal y cultural a través de diferentes líneas de investigación que trazan el hilo conductor de su obra: la originalidad, lo paranormal, la identidad, la memoria, el retrato y el cuerpo, que forman parte del juego entre dicotomías (figuración-abstracción, barroco-minimalista, inocencia-crueldad, tradicional-experimental) representadas en sus obras. En ellas, la línea y el punto se vuelen elementos fundamentales que generan un dialogo entre dibujo y escultura, entre lo bidimensional y lo tridimensional.
Páginas 224
Medidas 21,5 x 28 cm
Encuadernación Tela con sobrecubierta francesa
2 Ediciones Español /Inglés
ISBN
Castellano 978-84-7506-964-7
Inglés 978-84-7506-965-4
Editorial TURNER (2011)
