Pomona 36 II D, 2012 – Plafón de 1904 desprendido, consolidado y montado sobre bastidor de aluminio / Ceiling of 1904 detached, consolidated and mounted on aluminum frame / 193.5 x 247.7 x 3.5 cm / 76.18 x 97.5 x 1.3 inches. Colección Privada / Private Collection.

 

Home – So Different, So Appealing: Art from the Americas since 1957.

 

Curators: Chon Noriega, Mari Carmen Ramirez, Pilar Tompkins Rivas.

 

Artists: Laura Aguilar, Allora & Calzadilla, Carmen Argote. Andres Asturias, Luis Cruz Azaceta, Myrna Báez, Antonio Berni, Johanna Calle, Luis Camnitzer, Leyla Cárdenas, Livia Corona Benjamin, Abraham Cruzvillegas, Gabriel de la Mora, Perla de Leon, Christina Fernandez, León Ferrari, Ramiro Gomez, Beatriz González, María Elena González, Felix González -Torres, María Teresa Hincapié, Salomón Huerta, Jessica Kairé, Guillermo Kuitca, Daniel Joseph Martínez, Antonio Martorell, Gordon Matta-Clark, Amalia Mesa-Bains, Mondongo, Raphael Montañez Ortiz, Julio Cesar Morales, Jorge Pedro Núñez, Camilo Ontiveros, Pepón Osorio, Miguel Angel Ríos, Miguel Ángel Rojas, Doris Salcedo, Juan Sánchez, Teresa Serrano, Vincent Valdez.

June 11 – October 15, 2017.

LACMA: The Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036.

 

www.lacma.org

http://www.lacma.org/art/exhibition/home-so-different-so-appealing

http://gabrieldelamora.com/en/

 

PST Logo

raw

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Tríptico-V.-C.-62,-20-gr-de-pigmento-webd2-

V. C. 62, 20 gr de pigmento, 2013, Bastidor vacío, tela raspada del falso Vladimir Cora y óleo reciclado sobre tela, Tríptico 36.3 x 34.2 x 2.8 cm cada uno.

El óleo de un falso Vladimir Cora, fue raspado y colado en repetidas ocasiones para eliminar los residuos de tela y preparación, dejando solo 20 gramos de pigmento, que fueron molidos y mezclados con aceite de linaza para convertirlos en un óleo reciclado que se aplica de manera uniforme en una superficie, generando un monocromo a partir del falso.

Detalle de cada uno de los tres paneles.

www.gabrieldelamora.com

Libro de Gabriel de la Mora: Originalmentefalso / Originallyfake de Francisco Reyes Palma.

https://www.educal.com.mx/0800-literatura/092816-originalmentefalso.html

https://www.abebooks.com/9780989795746/Originally-Fake-Originalmente-falso-English-0989795748/plp

https://www.exitlalibreria.com/libro/gabriel-de-la-mora-originalmentefalso-originallyfake_795

 

 

IMG_9508-sitio-webPomona 36 II D, 2012 – Plafón de 1904 desprendido, consolidado y montado sobre bastidor de aluminio / Ceiling of 1904 detached, consolidated and mounted on aluminum frame / 193.5 x 247.7 x 3.5 cm / 76.18 x 97.5 x 1.3 inches. Colección Privada / Private Collection.

Home – So Different, So Appealing: Art from the Americas since 1957.

Curators: Chon Noriega, Mari Carmen Ramirez, Pilar Tompkins Rivas.

Artists: Laura Aguilar, Allora & Calzadilla, Carmen Argote. Andres Asturias, Luis Cruz Azaceta, Myrna Báez, Antonio Berni, Johanna Calle, Luis Camnitzer, Leyla Cárdenas, Livia Corona Benjamin, Abraham Cruzvillegas, Gabriel de la Mora, Perla de Leon, Christina Fernandez, León Ferrari, Ramiro Gomez, Beatriz González, María Elena González, Felix González -Torres, María Teresa Hincapié, Salomón Huerta, Jessica Kairé, Guillermo Kuitca, Daniel Joseph Martínez, Antonio Martorell, Gordon Matta-Clark, Amalia Mesa-Bains, Mondongo, Raphael Montañez Ortiz, Julio Cesar Morales, Jorge Pedro Núñez, Camilo Ontiveros, Pepón Osorio, Miguel Angel Ríos, Miguel Ángel Rojas, Doris Salcedo, Juan Sánchez, Teresa Serrano, Vincent Valdez.

June 11 – October 15, 2017.

LACMA: The Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036.

(Los Angeles—May 4, 2017) The Los Angeles County Museum of Art (LACMA) presents Home—So Different, So Appealing: Art from the Americas since 1957, a groundbreaking exhibition on the universal concept of home, and the first group show at a major Los Angeles museum to focus on Latino and Latin American art since the 1950s. Offering an extraordinary look at one of the world’s most basic social concepts, this exhibition explores the differences and affinities within artworks relative to immigration and political repression, dislocation and diaspora, and personal memory and utopian ideals. Home—So Different, So Appealing features approximately 100 artworks by 40 Latino and Latin American artists. This expansive exhibition will include painting, sculpture, installation, performance, photography, film/video, and public sculpture by U.S. artists from the largest historic Latino groups—of Mexican, Puerto Rican, and Cuban origin—plus artists from Argentina, Colombia, Guatemala, Mexico, Venezuela, and Uruguay, among other countries. Included in the exhibition are works by internationally recognized artists Antonio Berni, Abraham Cruzvillegas, Leon Ferrari, Beatriz González, Felix González-Torres, Guillermo Kuitca, Daniel Martinez, Gordon Matta-Clark, Amalia Mesa-Bains, Raphael Montañez Ortiz, and Doris Salcedo, as well as emerging and established Los Angeles-based artists Laura Aguilar, Carmen Argote, Christina Fernandez, Ramiro Gomez, Salomón Huerta, and Camilo Ontiveros. Among the many large-scale works in the exhibition, María Elena González’s participatory sculpture Magic Carpet/Home (2003/2017) will be presented outdoors on the LACMA grounds.

“We are thrilled to present Home—So Different, So Appealing, the first of five exhibitions at LACMA in conjunction with Pacific Standard Time: LA/LA, the ambitious regional collaboration devoted to exploring Latin American and Latino art in dialogue with Los Angeles,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “The spirit of exchange is evident in the conception of this exhibition, a collaboration with the UCLA Chicano Studies Research Center (CSRC), LACMA, and the Museum of Fine Arts, Houston (MFAH). Drawing from a range of artist voices, this exhibition offers a thought-provoking look into the ways in which Latino and Latin American artists have understood the idea of ‘home’ amid a changing political and socioeconomic landscape.”

Exhibition co-curators Chon Noriega (CSRC director and adjunct curator at LACMA), Mari Carmen Ramírez (curator and director of the International Center for the Arts of the Americas at MFAH), and Pilar Tompkins Rivas (director of the Vincent Price Art Museum) added, “This exhibition is not a historical survey but a thematic investigation of home—a dwelling, residence, or place of origin—an embodiment of one of the basic concepts for understanding an individual or group within a larger physical and social environment. Here the artists speak across art history and social history in order to get at something about home that is so different, so appealing.”

This exhibition was organized by the UCLA Chicano Studies Research Center; the Los Angeles County Museum of Art; and the Museum of Fine Arts, Houston.

www.lacma.org

http://www.lacma.org/art/exhibition/home-so-different-so-appealing

http://gabrieldelamora.com/en/

MCI 9 2015

MCI / 9-I f, 2015, Mantilla de caucho de imprenta offset desechada sobre madera / discarded rubber blanket cylinder on wood, 104 x 77 x 4 cm, Colección Privada / Private Collection.

PROCESO / Process

VISTAS DE INSTALACION / Instalation views

(f) @ Galería OMR, febrero / february 2015.

 

Como sus títulos sugieren, las serie Offset MC y Offset PA tienen un origen común, ambas se crean usando las placas de aluminio y las mantillas de caucho que son desechadas de las imprentas offset y posteriormente se clasifican por color, grado de desgaste, opacidad o información que contengan.

A diferencia de la otra serie, en Offset MC las mantillas suelen absorber los tintes y pigmentos utilizados para la impresión y van generando marcas de colores de carácter etéreo e intenso a la vez. El resultado es, como en buena parte de la producción de De la Mora, un número de pinturas encontradas. Por ejemplo, los vibrantes azules de una mantilla de caucho imitan –involuntaria y sorpresivamente– a una pintura de Rothko; tal fidelidad difícilmente sería lograda trabajando a mano e intentando imitar a conciencia la obra en cuestión. La tensión entre lo único e irrepetible con el trabajo mecánico se manifiesta de nueva cuenta en este trabajo: es a partir de lo técnico y un proceso industrializado que se crea un arte de naturaleza aurática.

__________

As suggested by their titles, the series Offset MC and Offset PA share a common origin, they are both created by using the aluminum plaques and the rubber blanket cylinders that are discarded from offset printing houses and are classified afterwards by categories such as color and wear.
In Offset MC the cylinder blankets used have absorbed the ink and pigments of the printing process printing and thus slowly generate color markings of a simultaneously ethereal and intense character. As is characteristic of de la Mora’s work, the result is a number of found paintings. For example, the vibrant blue hues of a blanket cylinder recall – in a surprising fashion– a painting by Rothko. Such fidelity would rarely be achieved by hand or by attempting to consciously imitate said work. The tension between the unique and unrepeatable with mechanical labor is once again manifested in this series; it is through a technical and industrialized process that an auratic artwork is created.

 

www.gabrieldelamora.com

arteBA, Buenos Aires, Argentina del 24 al 27 de mayo de 2017.

Walden Gallery, sección principal booth D9

 

Artistas exhibidos:

Gabriel de la Mora

Martín Cordero

Ariadna Pastorini.

 

www.waldengallery.com

www.gabrieldelamora.com

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http://proyectosmonclova.com/artista/tercerunquinto/

http://proyectosmonclova.com/

http://www.arteba.org/

http://gabrieldelamora.com/