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, M+ Hong Kong, China.
He is represented by Proyectos Monclova Gallery (Ciudad de México), PERROTIN (Paris, New York, Los Angeles, Tokio, Seul, Shanghai, Hong Kong, London, Dubai), Sicardi Ayers Bacino (Houston, Texas) y Simões de Assis (São Paulo, Curitiba, Balneário Camboriú, Brazil)
Perrotin
ART BASEL PARIS
October 20 – 25
Booth B35
Perrotin is pleased to return to Art Basel Paris at the Grand Palais with a selection of works by artists from its roster. Perrotin’s booth presents works by Monira Al Qadiri, Jean-Marie
Appriou, Genesis Belanger, Jason Boyd Kinsella, Maurizio Cattelan, Julian Charrière, Chen Fei, Chen Ke, Johan Creten,Gabriel de la Mora, Mathilde Denize, Jens Fänge, Bernard Frize, Nick Goss, Nancy Graves, Jeppe Hein, Gregor Hildebrandt , JR, Susumu Kamijo, Izumi Kato, Danielle Orchard, Jean-Michel Othoniel, Paola Pivi, Shim Moon-Seup, Xavier Veilhan, Bernar Venet, Peter Vermeersch, Emma Webster. The gallery’s estates are also featured with works by Lynn Chadwick, Hans Hartung,Jesús Rafael Soto and Pierre Soulages.
Guided Tour of the Exhibition: GABRIEL DE LA MORA: LA PETITE MORT
Curated by Tobias Ostrander, Guest Curator
Gabriel de la Mora: La Petite Mort brings together two decades of the artist’s practice (Mexico City, 1968), distinguished by his transformation of materials through processes that range from the meticulous to the elemental.
https://www.youtube.com/watch?v=xV1E_SXsMoc
Through operations that evoke alchemy—from delicate compositions made with butterfly wings or human hair to the recovery of eroded architectural surfaces—De la Mora creates objects of remarkable formal subtlety and intense sensory impact.
May 29 – October 25, 2026
An exhibition presented in collaboration with Museo Jumex.
#GabrieldelaMora
MARCO is supported annually by the Government of the State of Nuevo León, the Nuevo León Ministry of Culture, the Government of Monterrey, Arca Continental, FEMSA, CYDSA, FRISA, Xignux, Alberto Fernández G; Arte Expuesto, Viva Aerobus, and V Media Group.
This project is supported by the Government of the State of Nuevo León’s Ministry of Culture through the Support Program for Cultural Institutions, Cultural Agents, and Creatives of Nuevo León. This is a public program and is not affiliated with any political party. Its use for purposes other than those established by the program is prohibited.
@nuevoleonmx @sculturanl #CulturaNL
Gabriel de la Mora @ Untitled Art | Booth B16 SICARDI AYERS BACINO
October 1 – 4, 2026|Houston, Texas
George R. Brown Convention Center, Hall A3, Booth B16
1001 Avenida De Las Americas, Houston, Texas 77010
JOIN THE ARTIST FOR A TOUR OF THE EXHIBITION LA PETITE MORT AND DISCOVER HIS WORK.
OCTOBER 1 – 3 PM
OCTOBER 2 – 2 PM & 4 PM
OCTOBER 3 – 11 AM
FREE ADMISSION TO THE TOUR*
PRIOR REGISTRATION REQUIRED
LIMITED CAPACITY
* Free admission applies only to the exhibition La Petite Mort. Regular museum admission is required to visit the other exhibitions.
FOR MORE INFORMATION
investigacioneducativa@marco.org.mx
For ArtRio 2026, Simões de Assis explores the plurality of material approaches in art, establishing dialogues between modernity and contemporaneity. The selected works highlight the diversity of materials and technical possibilities present in artistic production, from paper to ceramics, from glass to bronze.
The selection brings together works by Abraham Palatnik, André Azevedo, Antonio Bandeira, Ascânio MMM, Ayrson Heráclito, Carlos Cruz-Diez, Cícero Dias, Diambe, Gabriel de la Mora, Gonçalo Ivo, Hércules Barsotti, Ione Saldanha, Jean-Michel Othoniel, João Trevisan, Jorge Guinle, Juan Parada, Julia Kater, Macaparana, Manfredo de Souzanetto, Mano Penalva, Marcia de Moraes, Mika Takahashi, Sergio Camargo, Sergio Lucena, Thalita Hamaoui, and Zéh Palito, and presents, for the first time in Rio de Janeiro, a work by Mary Weatherford.
#ArtRio
Booth D4
September 16-20
Marina da Glória
Gabriel de la Mora does not use traditional brushes or conventional ideas. After graduating as an architect and earning his master’s degree from Pratt Institute in New York, he has become known for “drawing” and “painting” with human hair, eggshells, matchboxes, and found materials.
He will join us for the 43rd Anniversary of the Faculty of Architecture and Design, sharing his work and ideas with the student community.
Monday, September 7, 2026 — 1:30 PM
Faculty of Architecture and Design Auditorium
University of Colima
Coquimatlán, Colima, Mexico
Image: Installation view Gabriel de la Mora: La petite mort. Museo Jumex, 2025. Photo: Ramiro Chaves.
ASPEN ART FAIR
JULY 29 – AUGUST 1
HOTEL JEROME
BOOTH B12
Featured Artists Include
Young-Il Ahn
Alma Allen
Chang Ya Chin
Nick Doyle
Julia von Eichel
Gelitin
Nancy Graves
Todd Gray
Charles Hascoët
John Henderson
Leslie Hewitt
Gregor Hildebrand
Nir Hod
Gabriel de la Mora
MSCHF
Danielle Orchard
Otani Workshop
Jean-Michel Othoniel
Paola Pivi
Kyungmi Shin
Claire Tabouret
Xiyao Wang
Dustin Yellin
Proyectos Monclova Gallery is pleased to announce its first participation in The Aspen Art Fair 2026, in collaboration with El Apartamento. Taking place from July 29 to August 1 at the historic Hotel Jerome in Aspen, Colorado, the fair will feature a presentation of works by six leading Latin American artists: Eduardo Terrazas, Hilda Palafox, Andrés Pereira Paz, Edgar Orlaineta, Gabriel de la Mora, and Juan Parada.
The presentation brings together a selection of works that engage in dialogue through a wide range of materials, artistic languages, and conceptual approaches. From investigations into memory, territory, and identity to explorations of abstraction, materiality, and history, the exhibition offers a compelling overview of the richness and complexity of contemporary Latin American artistic practice.
Highlighting both the strength of the participating artists’ trajectories and the depth of their research-based practices, the presentation reflects the diversity of perspectives and the vitality of Latin American art within today’s international contemporary art landscape.
Booth A6
29 de julio – 1 de agosto, 2026
Hotel Jerome – 330 E Main St. Aspen, Colorado
The AA Summer School in Latin America is fast approaching, and we are happy to announce the first event of our public programme.
On Monday 6 July at 5PM, we will open the programme with an artist talk by @gabrieldelamora118 at LagoAlgo.
All events are open to the public, Pre-registration is required. The talk will be conducted in English. We warmly welcome visitors from different ages, backgrounds, and disciplines to join the conversation as we explore Mexico City through the lens of its artists and architects.
Gabriel de la Mora was born on 23 September 1968 in Mexico City, where he currently lives and works.
He holds an MFA in Painting from Pratt Institute, New York, and a BA in Architecture from Universidad Anáhuac del Norte, Mexico City. He has been a Fulbright-García Robles scholar, a recipient of the Jacques and Natasha Gelman Foundation grant, and a member of the Sistema Nacional de Creadores, FONCA.
Pre- register:
https://app.acuityscheduling.com/schedule/8b4ad1fd/appointment/94921966/calendar/7166210
Graphic design by @mariamarindebuen
The meaning of a collection is not fixed; it changes every time an exhibition is organized and someone visits it. This premise serves as the starting point for Cúmulos y variaciones (Clusters and Variations). Lecturas de la colección MACG (Readings of the MACG Collection),a an interpretive exploration of the collection of the Carrillo Gil Art Museum that offers an experimental exhibition to discuss concepts related to both art history and contemporary concerns. By reclaiming this museum’s mission as a space that preserves a foundational collection of modern art while also showcasing contemporary artistic expressions, the exhibition is organized into groups of works (clusters) centered around four core themes that draw connections and offer interpretations that cut across works from different periods and styles.
The exhibition features clusters of dense, layered installations that literally bring works into close proximity with one another, exploring the meanings and relationships that such proximity can foster. This strategy aims to highlight how works from the past speak to us in the present and how, at the same time, contemporary art sheds new light on works from earlier periods.
The exhibition is organized around four thematic strands, each containing brief interpretive texts that, rather than defining the meaning of the works, explore possible ways of understanding them. Tecnologías del lenguaje (Language Technologies) explores writing systems and various media for storing visible and legible texts, as well as the sonic dimension of works that do not necessarily produce sound. Vanguardias (Avant-garde) examines the validity of this notion through metaphysical explorations, constructive systems, and representations of movement. Antropoceno (Anthropocene) explores humanity’s impact on the planet through landscape, representations of the human figure, and the allegorical use of the animal and plant worlds. Finally, Vida cotidiana (Everyday life) focuses on artistic approaches to everyday urban phenomena and offers a critical perspective on mass sporting events and the way they shape the collective experience.
The exhibition is accompanied by a program of activities (performances, talks, and workshops) designed to expand upon and explore the curatorial concepts in greater depth. Ultimately, the project seeks to explore how the interpretation of a collection is always provisional and subject to new conceptual and spatial arrangements and configurations.
Curated by
Esteban King Álvarez
Curatorial assistant
Jorge Castro Orozco
Texts
Esteban King Álvarez, Jorge Castro Orozco, Fernanda Ramos Mena
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
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)
