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.
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)
