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).
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.
PROYECTOSMONCLOVA se complace en anunciar la colaboración con ADN Studio, un despacho de diseño creado por Paulo Peña y Paulina Hassey, quienes después de más de una década dedicados al Modernismo Mexicano y al diseño del S. XX, y habiendo desempeñado un papel importante al colocar el diseño mexicano histórico en la escena internacional, lanzaron esta nueva división enfocada completamente al diseño contemporáneo.
Esta es la primera vez que la galería incluye piezas de diseño en su agenda y programación y, con la idea de unir esfuerzos, ADN Studio ha creado una colección especial de mobiliario para el showroom y las oficinas del espacio que además dialogan con las piezas que están expuestas. Asimismo, se presenta la colección Agave, una serie que nace ante la inquietud de usar y convertir la enorme cantidad de residuos no aprovechados de la industria del mezcal en tapetes. Diseñados por Trine Ellitsgaard quien, teniendo un conocimiento profundo del mundo del textil en Oaxaca y consciente del desequilibrio que la industria del mezcal ha causado en el ecosistema y las comunidades, ha encontrado la manera de teñir e hilar dichos deshechos y así crear piezas de diseño con carácter e identidad únicos. Este proyecto tiene un enfoque especial en la inclusión de mujeres y adultos mayores de las comunidades indígenas Zapotecas de Oaxaca quienes se involucran en la manufactura de los tapetes.
Cada mueble de ADN Studio tiene un valor intrínseco que resulta de un proceso de trabajo minucioso: la selección de materiales, los procesos de producción y el trabajo directo con diseñadores y artesanos -atendiendo a las raíces locales- deviene en piezas únicas que empatan con los intereses y compromisos de la galería, por ello nos entusiasma tanto este nuevo proyecto en conjunto.
Sicardi | Ayers | Bacino presents eight works by Mexico City-based contemporary artist Gabriel de la Mora (b. 1968, Mexico) in an online viewing room hosted by Hook Selects.
De la Mora began his career as a practicing architect before redirecting his focus to visual art.
Beginning Wednesday, October 21 at 9:00am CDT, please click here to visit the viewing room, open through Saturday, October 24 at 4:00pm CDT.
Through the Hook platform, you can also schedule a live video walkthrough of the viewing room with a gallery staff member to view additional available works. If you have questions, contact William Isbell at firstname.lastname@example.org or call 832.264.3466.
For all other inquiries please call the gallery at 713.529.1313 or email email@example.com.
As part of its nineteenth anniversary, Malba presents Hable con Ella, a program in which different Argentine and Latin American artists, with different backgrounds, are invited to choose a work from the museum’s collection and then share their personal bond from different approaches with that piece and its creator. The selection was made by Gabriela Rangel, Florencia Malbran, and Verónica Rossi with the collaboration of the areas of cinema and literature.
Gabriel de la Mora (Mexico City, 1968) engages in a visual dialogue with a work by Lidy Prati from the Malba Collection, which he did not know until the invitation to participate in this cycle. It analyzes in detail its grid, the modules, the elements that make it up, its colors, and even uses the condition report for its visual analysis. De la Mora closes his video with a phrase from Josef Albers: “There are hundreds of people capable of speaking for each one capable of thinking. But there are thousands of people capable of thinking for each one capable of seeing ”
La Licenciatura en Arte Y Creación, ITESO, Universidad Jesuita de Guadalajara. Invita a la charla Dibujo y arte contemporáneo.
Jueves 24 de septiembre, 2020
Inscripción antes de la sesión: firstname.lastname@example.org
“The Instituto Nacional de Bellas Artes y Literatura INBAL informs that the Museo Nacional de Arte (MUNAL) will carry out this Friday, September 11, a new sanitization of its facilities, so this site will remain closed until September 17 of the current year ”Noted the agency.
Timothy Taylor is delighted to present Neornithes, a new body of work by Gabriel de la Mora. Referring to the taxonomic description for modern birds, Neornithes represents the culmination of de la Mora’s investigations into the role of biological material as both medium and metaphor.
Perrotin presents Gabriel de la Mora’s first exhibition at our Paris location. De la Mora is a conceptual artist based in Mexico, whose work explores alternative modes of image-making. He works in a diverse range of materials including eggshells, sound screens, human hair, and found objects. The artist’s serial work constitutes a structure of mirror images, echoes, and repetitions.
The exhibition by Gabriel de la Mora (Mexico City, 1968) and Sofie Muller (Ghent, 1974) explores the passage of time and its impact on nature and human beings. The exhibition is configured as a dialogue between Muller’s sculptures and Gabriel De la Mora’s paintings, where the concepts of deconstruction and decadence coexist. Gabriel de la Mora presents a series of found landscapes that were made with oil or acrylic between 1950 and 1990 in Mexico. De la Mora exposes these paintings to the elements for a certain period so that the sun, changes in temperature, acid rain, and other climatic phenomena transform or disappear —partially or completely— the original landscape they represented. With this process in which time and nature take on an important role, de la Mora makes an analogy to the damage caused by a man on the landscape; for this purpose, he mentions: “just as man destroys nature, nature will destroy the representation of nature made by man and will return it to nature”. The title of each piece indicates the days when these paintings were exhibited, which mainly represented mountains or views in which lakes, rivers, and oceans appeared, spaces that suffer the effects of climate change and pollution caused mostly by humans. Sofie Muller, for her part, presents pieces made with alabaster – wounded, cracked and scarred heads – that reflect the deterioration of the human body over time as a consequence of a life defined by struggle, manipulation, personal experience, and the wounds. These pieces that are fragile, poetic, and brutal at the same time are placed on the floor, gently laid on a worn pillow, or suspended on the walls. The sculptures appeal to the study carried out by the artist on the manipulation of the human body and the concept of “manageable human”; Furthermore, Muller exhibits a series of drawings made with blood on alabaster that appeal to the fragility of the human body through the use of natural and organic materials. The overall result is determined by the age of the material used.
Starting April 25, you have a new appointment with Mexican contemporary art at Casa de México. We inaugurated the exhibition Inevidencias, by Gabriel de la Mora.
This exhibition brings together works from three different series by the Mexican artist Gabriel de la Mora. Being a consequence of each other, these series allow observing the development of the work of an artist who has sought to explore painting, drawing, and sculpture from a radical subversion of the bases and procedures of these disciplines.
At the same time, the exhibition allows us to get closer and know the work processes that the artist performs in his study of Mexico City, characterized by a meticulous and obsessive exploration of the infinite possibilities that iterations and repetitions allow.
Perrotin New York is proud to host Gabriel de la Mora’s first exhibition with the gallery. The unique methods and materials de la Mora uses—feathers, eggshells, and human hair, in this case—stem from the artist’s decision to “quit painting” in 2004. The result has been an exploration of alternative modes of image-making, wherein seemingly minimal and often monochrome-looking surfaces belie great technical complexity, conceptual rigor, and embedded information.
This exhibition is organized by the Pinacoteca of the University of Colima to show the works of Gabriel de la Mora that are part of the Collection of the University of Colima and the Secretary of Culture of the State of Colima.
Gabriel de la Mora: Crystals of Inevidence / Cristales de Inevidencia
September 7 – October 19, 2017