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).
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.
ZONAMACO 2023
Alejandra Venegas, Ángela Gurría, Chantal Peñalosa, Edgar Orlaineta, Eduardo Terrazas, Fernando García Ponce, Gabriel de la Mora, Helen Escobedo, Hilda Palafox, Manuel Felguérez, Martín Soto Climent, Néstor Jiménez, Tercerunquinto, Yoshua Okón.
Booth A113
08.02.2023 – 12.02.2023
Centro Citibanamex
Av. del Conscripto 311, Lomas de Sotelo, Hipódromo de las Américas, Miguel Hidalgo, 11200 Ciudad de México, CDMX
Proyectos Monclova participates at ZONAMACO 2023 with a special collaboration with the Simões de Assis gallery that has spaces in both São Paulo and Curitiba, Brazil. Both galleries present a galerías offer a presentation of contemporary and modern art with a selection of Argentine, Brazilian, Mexican, and Venezuelan artists who work with abstraction and geometry. Proyectos Monclova’s contribution to the presentation will include works by Alejandra Venegas, Ángela Gurría, Chantal Peñalosa, Edgar Orlaineta, Eduardo Terrazas, Fernando García Ponce, Gabriel de la Mora, Helen Escobedo, Hilda Palafox, Manuel Felguérez, Martín Soto Climent, Néstor Jiménez, Tercerunquinto, and Yoshua Okon. Alongside this selection, Simões de Assis will show works by Abraham Palatnik, Alfredo Volpi, Antonio Asis, Juan Parada, Carlos Cruz-Diez, Emanoel Araujo, Gonçalo Ivo, Jesús Rafael Soto, Mano Penalva, Miguel Bakun, and Sérgio Camargo. The result of this work establishes dialogues from different languages, points of reference, and aesthetic expressions.
https://zsonamaco.com/es/february/arte-contemporaneo/2023/galleries
www.proyectosmonclova.com
Gabriel de la Mora @ SALON PERROTIN MATIGNON
Xavier Veilhan, Johan Creten, Hans Hartung, Thilo Heinzmann, Sophie Calle, Jean-Marie Appriou, Laurent Grasso, Gregor Hildebrant, Mathilde Denize, Klara Kristalova, Pieter Vermeersch, Lee Bae, Jean-Pjilippe Delhomme, Gabriel de la Mora, Takashi Murakami, and Tavares Strachan.
01.10 – 03.11.2023
Paris
2 Bis Avenue Matignon 75008 Paris
https://www.perrotin.com/
Gabriel de la Mora @Proyectos Monclova Booth G28 Art Basel Miami Beach
Miami Beach Convention Center
December 1 – 3, 2022
James Benjamin Franklin, Eduardo Terrazas, Edgar Orlaineta, Michael Sailstorfer, Gabriel de la Mora, Ángela Guirría, Helen Escobedo, Manuel Felguérez, Alexander Calder.
https://www.proyectosmonclova.com/
* 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.
Gabriel de la Mora @ Perrotin
Art Basel Miami Beach
Booth J3
December 1 — 3, 2022
Miami Beach Convention Center
1901 Convention Center Drive, Miami Beach, FL 33139
Perrotin is pleased to participate in this year’s iteration of Art Basel Miami Beach with an interactive project by art collective MSCHF, a nested solo presentation by Japanese artists belonging to Kaikai Kiki studio, and the debut of work by new artists to the gallery: Henry Gunderson, Nikki Maloof, Sophia Narrett, and Kathia St. Hilaire.
Brooklyn-based art collective MSCHF will make their debut at Art Basel with an immersive sculpture on Perrotin’s booth, concurrent to their exhibition at Perrotin New York on view through December 23, No More Tears, I’m Lovin’ It.
Central to the booth, Perrotin will present new artwork by Japanese artists belonging to Kaikai Kiki. Emi Kuraya, MADSAKI, and ob will debut new paintings, Otani Workshop will present a series of bronze sculptures and paintings, and Takashi Murakami will debut works from his Murakami.Flowers series. Concurrently, Otani Workshop recently opened Hand, Eye, and Soul at Perrotin Seoul and Takashi Murakami will inaugurate Perrotin Dubai with a solo exhibition, on view from November 25, 2022 through January 28, 2023.
Henry Gunderson will unveil a large-scale painting from his “House” series, marking Perrotin’s first collaboration with the artist, ahead of a solo exhibition of his work at Perrotin New York this Spring. Gunderson uses an acrylic layering technique in his oversized, hyperrealistic paintings that explore the human psyche through post-industrial American Pop Art landscapes.
Additionally, we will present a nested solo corner of still life artworks by Nikki Maloof, Sophia Narrett, and Danielle Orchard, who will have their debut exhibitions at Perrotin New York in Spring 2023. Kathia St. Hilaire will also present a new work on the booth, concurrent to her first-ever institutional exhibition, titled Immaterial Being, at NSU Fort Lauderdale.
Finally, Bernard Frize will present a new series of paintings, concurrent to his exhibition at Perrotin Paris (2 bis Avenue Matignon), Comment Puis-Je Te Dire…, on view through December 17.
Perrotin’s booth will include a curated selection of works by Jean-Marie Appriou, Iván Argote, Hernan Bas, Genesis Belanger, Anna-Eva Bergman, Stan Burnside, Jean-Philippe Delhomme, Nick Doyle, Charles Hascoët, Thilo Heinzmann, John Henderson, Leslie Hewitt, Gregor Hildebrandt, Kara Joslyn, Izumi Kato, Bharti Kher, Klara Kristalova, Trevon Latin, Lee Bae, Gabriel de la Mora, Jean-Michel Othoniel, Paola Pivi, Gabriel Rico, Jesús Rafael Soto, Josh Sperling, Tavares Strachan, and Xiyao Wang.
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).