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).
Gabriel de la Mora: FRAGMENTXS
TIMOTHY TAYLOR LONDON
1-30 SEPTEMBER
JEAN-MARIE APPRIOU, IVÁN ARGOTE, DANIEL ARSHAM, RINA BANERJEE, SOPHIE CALLE, MATHILDE DENIZE, NICK DOYLE, OLI EPP, VIVIAN GREVEN, HENRY GUNDERSON, ZACH HARRIS, CHARLES HASCOËT, JOHN HENDERSON, LESLIE HEWITT, KARA JOSLYN, JR, IZUMI KATO, NIKKI MALOOF, GABRIEL DE LA MORA, MSCHF, TAKASHI MURAKAMI, DANIELLE ORCHARD, JEAN-MICHEL OTHONIEL, ZÉH PALITO, PAOLA PIVI, TAVARES STRACHAN, XIYAO WANG
MAY 17 – 21, 2023
NEW YORK
THE SHED
545 W 30TH ST, NEW YORK, NY 10001
Perrotin is pleased to participate in the 2023 edition of Frieze New York.
The gallery’s booth will present a nested solo corner by Japanese artist Izumi Kato. The artist’s practice is deeply rooted in his unconventional approach to art making: he intuitively paints with his fingers in bold hues, and his pieces consequently embody a primal, universal form of humanity founded less on reason than on intuition. At the heart of Kato’s practice is the Shinto belief that everything, even objects like rocks and wood, contain a spirit. Materials, such as stones and textiles which evoke a historic precedent in Japanese folk art traditions, are sourced from Kato’s environment. At Frieze New York, Kato will present a series of stone sculptures, aluminum sculptures and new oil paintings, ahead of a solo exhibition at Perrotin Paris in June.
Additionally, our booth will highlight artists with concurrent or upcoming exhibitions in New York City. Currently on view, Rina Banerjee, Danielle Orchard and Henry Gunderson all recently debuted their first solo exhibitions at Perrotin New York. This July, Jean-Michel Othoniel will open a solo exhibition at the Brooklyn Botanic Garden, marking the artist’s largest US presentation since his 2012 retrospective at Brooklyn Museum. In November, Jean-Michel Othoniel will also open a solo exhibition at Perrotin New York.
Finally, central to the booth, Takashi Murakami will present a new painting of his Mr. DOB figure, a whimsical character that has been appearing in the artist’s work for over two decades. Mr. DOB’s name is lifted from the Japanese slang expression dobojite, which means “why?” The icon’s sharp teeth, cartoon eyes, and murine ears together exemplify Murakami’s inspiration drawn from youth culture, specifically anime and manga.
Perrotin’s booth will also feature new artwork by Jean-Marie Appriou, Iván Argote, Daniel Arsham, Sophie Calle, Mathilde Denize, Nick Doyle, Oli Epp, Vivian Greven, Zach Harris, Charles Hascoët, John Henderson, Leslie Hewitt, Kara Joslyn, JR, Nikki Maloof, Gabriel de la Mora, MSCHF, Zéh Palito, Paola Pivi, Tavares Strachan, and Xiyao Wang.
Proyectos Monclova
Dallas Art Fair
Booth F2
21.04.2023 – 23.04.2023
James Benjamin Franklin, Eduardo Terrazas,
Edgar Orlaineta, Gabriel de la Mora, Ángela Gurría,
Martín Soto Climent, Alejandra Venegas
1807 Ross Avenue
Dallas, Texas 75201
https://www.proyectosmonclova.com/
https://www.dallasartfair.com/
DALLAS ART FAIR
BOOTH G2
April 20 – 23, 2023
Jean-Marie Appriou
Iván Argote
Daniel Arsham
Sophie Calle
Mathilde Denize
Bernard Frize
Zach Harris
Hans Hartung
Charles Hascoët
Thilo Heinzmann
John Henderson
Leslie Hewitt
Gregor Hildebrandt
Gabriel de la Mora
Takashi Murakami
Sophia Narrett
Paola Pivi
Gabriel Rico
Josh Sperling
Kathia St. Hilaire
Tavares Strachan
Pieter Vermeersch
Image/Imagen:
Gabriel de la Mora
1,440 I Mo.Di., 2023
Alas de mariposa Morpho didius sobre cartulina de museo / Morpho didius butterfly wings on museum cardboard
Image Dimensions: 30 x 30 x 2 cm /11.81 x 11.81 x .79 inches
Framed Dimensions: 35 x 35 x 6 cm /13.78 x 13.78 x 2.36 inches
*Las alas de mariposa utilizadas en esta nueva serie Lepidóptera, provienen de mariposas criadas en mariposarios de Perú, Indonesia y Madagascar, al morir de forma natural al ser liberadas, son recolectadas por comunidades locales. / The butterfly wings used in this new Lepidoptera series come from butterflies raised in butterfly farms in Peru, Indonesia and Madagascar, dying naturally when released, they are collected by local communities.
I FEEL THE WAY YOU FEEL
IVÁN ARGOTE, DANIEL ARSHAM, GABRIEL DE LA MORA, LIONEL ESTÈVE, ZACH HARRIS, BARRY MCGEE, JEAN-MICHEL OTHONIEL, PAOLA PIVI, CHRISTIANE POOLEY, YU-XIN SU, CLAIRE TABOURET, PIETER VERMEERSCH, BI RONGRONG, CHEN KE, CHEN TIANZHUO, JIN NINGNING, LIN KE, NA BUQI, WEI JIA, YANG GUANGNAN, ZHANG MIAO
Perrotin Shanghai is pleased to present the group exhibition I Feel The Way You Feel, which tries to showcase works and practices in the current media environment, and deliberately chose works in “obsolete” traditional mediums as the subject, which is customarily left out by new media thinking.
IMAGE/ IMAGEN:
1)
Gabriel de la Mora
955 I, 2018
955 pelos humanos (T.S.) sobre papel / 955 human hair (T.S.) on paper
Framed Dimensions: 60 x 60 x 4 cm /23.62 x 23.62 x 1.57 inches
Image Dimensions: 34 x 34 cm / 13.38 x 13.38 inches
2)
Gabriel de la Mora
Problema 13, 2015
Pelo humano sobre papel / Human Hair on paper
Framed Dimensions: 50.6 x 44 x 4.5 cm /9.92 x 17.32 x 1.77 inches
Image Dimensions: 33.9 x 27.6 cm/ 13.34 x 10.86 inches
https://leaflet.perrotin.com/view/420/i-feel-the-way-you-feel
Gabriel de la Mora @ Art Basel Hong Kong – Booth 3C08 PROYECTOS MONCLOVA
21.03.2023 – 25.03.2023
Helen Escobedo, Eduardo Terrazas, Edgar Orlaineta, Gabriel de la Mora, Ángela Gurría
21.03.2023 – 25.03.2023
Booth 3C08
Convention & Exhibition Centre
1 Harbour Road
Wan Chai
Hong Kong, China
Gabriel de la Mora @ Booth 7Co2 Timothy Taylor
ARCO Madrid
IFEMA – Feria de Madrid, Av. Partenón 5, 28042, Madrid, Spain
22-26 February, 2023.
Eddie Martinez, Antoni Tàpies, Chris Martin, Hayal Pozanti, Armen Eloyan, Eduardo Terrazas & Gabriel de la Mora.
Image:
Gabriel de la Mora, PAI / 1152 – II f, 2015, Placas de aluminio de Offset desechadas sobre madera / Discarded aluminium plate from offset printing press, mounted on Wood, 90 x 60 x 4 cm / 35.43 x 23.62 x 1.57 inches.
Gabriel de la Mora @ FRIEZE LOS ANGELES
Booth E06 PERROTIN
February 16 – 19, 2023
Santa Mónica Airport
Aya Takano, Josh Sperling, Daniel Arsham, Jean Michel Otoniel, Jean Philippe Delhomme, Joan Creten, Bernard Frize, Gabriel de la Mora, MSCHF, Takashi Murakami, Paola Pivi.
Perrotin is pleased to participate in this year’s iteration of Frieze Los Angeles with a dual solo booth of artworks by Aya Takano and Josh Sperling, alongside nested presentations by Daniel Arsham and Jean-Michel Othoniel.
Perrotin’s booth will highlight a new series of paintings and drawings by Aya Takano, whose delicate portrayals of girlhood in Japan explore the intricacies of human desire. Drawing upon influences ranging from manga to traditional printmaking to science fiction, Takano weaves human and animal forms into dreamlike worlds unencumbered by societal constraints, marrying her interest in science and deep respect for nature.
Additionally, Josh Sperling will debut artworks from his signature Composite series, which consists of individually shaped canvases that are collaged into boldly-colored compositions. Sperling marries visual language of the Minimalist art movement with aesthetics of ’90s advertising and the Memphis design movement. Concurrently, the artist opened his first-ever institutional exhibition at the SCAD Museum of Art, on view through June 5.
Perrotin’s booth will showcase work by artists with exhibitions around Los Angeles — Daniel Arsham and Jean-Philippe Delhomme. Finally, the gallery will present a salon-style hanging of work by several artists in our roster, including Johan Creten, Bernard Frize, Gabriel de la Mora, MSCHF, Takashi Murakami, and Paola Pivi.
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).