Gabriel de la Mora, Right-Left, 2017
Obsidiana tallada a mano / Hand carved obsidian
14.5 x 83 x 5.5 cm / 5.70 x 32.67 x 2.16 inches
RIGH Dimensions: 14.5 x 40.5 x 5.5 cm/ 5.70 x 15.94 x 2.16 inches
LEFT Dimensions: 15.1 x 42.5 x 5.5 cm / 5.94 x 16.73 x 2.16 inches

Please join us on Thursday, July 8 from 6-8pm for our first in-person opening reception following the pandemic outbreak. As Ximena Gama explains, “The question that inspired this exhibition is how to investigate the relationship that exists between the image and the word, between the work of a visual artist and that of a writer. These two mediums have always been considered opposite disciplines, and tradition has reduced both to their use value. Words are merely an explanation or translation of art, and the image’s sole objective is to illustrate discourse. To accept their incompatibility, however, ignores their poetic power and their capacity, when they dialogue with each other, to inspire imagination and to create a new reality. This is precisely the idea behind Subtext, an exhibition that brings together a series of contemporary artists from Argentina to Mexico who have straddled this border in order to go beyond it. It was on this border between words and images that these artists found a way to approach and understand the tumultuous social reality of Latin America. In their work, word and text combine to become a vehicle that contaminates the formal purity of conceptual art and thus adds a gesture of political criticism to their work.” For more information, please email William Isbell at william@sicardi.com or Monica Hernández at monica@sicardi.com or call 713.529.1313.
Preview the exhibition and read the complete essay

https://www.sicardi.com/exhibitions/subtext

www.gabrieldelamora.com

Yo dibujo estas letras

como el día dibuja sus imágenes

y sopla sobre ellas y no vuelve

Escritura, Octavio Paz

El poeta es un creador que desaparece detrás de su obra, dice Octavio Paz, esta condición es necesaria para que sea el lector quien complete el poema, pues las imágenes solo pueden interpretarse libremente cuando se han separado de su autor. Paz piensa con Heráclito que es el logos mismo que se manifiesta en el poema y a través de su materia no se expresa la subjetividad individual del autor, sino la voz de toda la humanidad. De manera análoga, en las obras que componen la serie El sentido de la posibilidad, de Gabriel de la Mora, el artista cede su lugar a la naturaleza que actúa, literalmente, sobre los lienzos.

Estas obras fueron concebidas como una respuesta al deterioro ambiental provocado por nuestras actividades industriales y extractivas. Durante una visita a Monterrey, en septiembre de 2015, De la Mora documentó la desaparición paulatina del cerro de las Mitras, donde se encuentran yacimientos de materias primas para la fabricación de cemento. La serie está compuesta de paisajes y marinas adquiridas en mercados de pulgas y antigüedades –piezas decorativas, de autores olvidados o desconocidos, quizá resultado de cadenas de producción casi industriales–, que fueron expuestas a la intemperie por distintos periodos de tiempo.

El proceso invierte el sentido de la pintura al aire libre: esa figura idílica del pintor en el campo que la cultura popular tiende a considerar como el intento máximo para capturar la esencia del paisaje. Aquí la naturaleza se impone sobre las piezas: el viento, el sol, la humedad, el granizo y los cambios de temperatura actúan sobre ellas para transformarlas. Han dejado de ser una representación del paisaje para convertirse en un indicio de la presencia de la naturaleza y sus efectos. En ellas se manifiesta la tensión entre la práctica de la pintura con su pretensión de eternidad –la imagen que fija el instante para detener el tiempo, la técnica que ha desarrollado los materiales que tratan de evitar la decadencia del objeto pictórico– y el deterioro causado por el transcurso del tiempo, una erosión lenta, casi imperceptible que nuevamente ha sido pausada y estabilizada.

La imagen pictórica es un instante cargado de subjetividad que De la Mora convierte en un dispositivo al servicio de la memoria, entendida, según el filósofo Manuel Cruz1, como una mirada humana sobre el mundo, como un instrumento para ver la realidad de otra manera.  Sin embargo, el procedimiento que ha usado el artista produce un doble negativo, cada una de estas piezas es la representación de un paisaje que ya no está, y a la vez es una representación que desaparece: es el recuerdo borrado de una ausencia señalándonos que la memoria está siempre al borde del olvido.

Eric Nava Muñoz

Gabriel de la Mora

I draw these letters 

as the day draws its images

and blows over them and does not return

Writing, Octavio Paz

The poet is a creator who disappears behind his work, says Octavio Paz.  This condition is necessary for the reader to complete the poem, since the images can only be freely interpreted when they have been separated from their author. Paz ponders with Heraclitus that it is the logos itself that is manifested in the poem and, through its matter, the individual subjectivity of the author is not expressed, but the voice of all humanity. Similarly, in the works that comprise the series The Sense of Possibility, by Gabriel de la Mora, the artist gives place to nature, which literally acts on the canvases.

These pieces were conceived as a response to the environmental deterioration caused by our industrial and extractive activities. During a visit to Monterrey in September 2015, De la Mora documented the gradual deterioration of Cerro de las Mitras, where there are deposits of raw materials for the manufacture of cement. The series consist of landscapes and seascapes acquired in antique and flea markets – decorative pieces, by forgotten or unknown authors, perhaps as a result of quasi-industrial production lines – that were exposed to the elements for different periods of time.

The process reverses the meaning of outdoor painting: that idyllic figure of the painter in the field that popular culture tends to regard as the ultimate attempt to capture the essence of the landscape. Here nature is imposed on the pieces: the wind, the sun, the humidity, hailstones and changes in temperature act on the pieces to transform them. They have ceased to be a representation of the landscape to become an indication of the presence of nature and its effects. In them the tension is manifested between the practice of painting with its claim to eternity –the image that fixes the moment to stop time, the technique that has developed the materials that try to prevent the decay of the pictorial object– and the deterioration caused over time, a slow, almost imperceptible erosion that has been halted and stabilized again.

The pictorial image is an instant charged with subjectivity that De la Mora turns into a device at service of memory, understood according to the philosopher Manuel Cruz1, as a human glance about the world, as an instrument to see reality from another perspective. However, the procedure that the artist has used causes a double negative, each of these pieces is the representation of a landscape that is no longer there, and at the same time, it is a representation that disappears: it is the erased memory of an absence indicating that the memory is always on the verge of oblivion.

Eric Nava Muñoz

1. Manuel Cruz, Cómo hacer cosas con recuerdos 2007, Buenos Aires, Katz.

PRENSA / PRESS:

Museo Francisco Goitia

Enrique Estrada 102, Sierra de Alica, 98050, Zacatecas, Zacatecas, México.

https://www.mexicoescultura.com/recinto/52348/museo-francisco-goitia.htmlhttps://www.facebook.com/museogoitia

Artists: Abdul-Rahman Katanani, Aisha Khalid, Antonio Santín, Carsten Höller, Darel Carey, Do Ho Suh, Esther Stocker, Farhad Moshiri, Gabriel de la Mora, Iván Navarro, Jorge Macchi, Moataz Nasr, Mohammed Kazem, Mounir Fatmi, Madia Kaabi-Linke, Robert Lazarini, Robert Irwin, Tomás Saraceno, Ugo Rondinone, Walaa Fadul.

24.06.2021 – 26.03.2022

King Abdulaziz Center for World Culture (Ithra)

8386 Ring Rd, Gharb Al, Dhahran, Dhahran, Saudi Arabia

Gabriel de la Mora, 61,361, 2019, detalle / detail, 61,361 fragmentos de cascarón de huevo sobre madera / 61,361 eggshell fragments on wood, 75 x 75 x 4 cm / 29.52 x 29.52 x 1.57 inches.

https://www.ithra.com/en/programme/2021/seeing-perceiving/

www.gabrieldelamora.com

Simoes de Assis-vistas-ph Ana Pigosso

Gabriel de la Mora, 2,120 I, 2019, Pelo humano sobre papel / Human Hair on paper, 34 x 34 cm, 13.38 x 13.38 inches, enmarcado / framed 60 x 60 x 4 cm, 23.62 x 23.62 x 1.57 inches.

Metamorfose: Sublimação e Transmutação / Metamorphosis: Sublicación y Transmutación

Artistas: Anna Costa e Silva , Ayrson Heráclito , Eliane Prolik , Gabriel de la Mora , Helô Sanvoy , Jean-Michel Othoniel , Mariana Manhães , Martha Araújo , Tracey Emin .

SIMOES DE ASSIS / Sao Paolo, Brasil

6.06.2021 – 14.08.2021

https://www.simoesdeassis.com/index.php

www.gabrieldelamora.com

SUBTEXT

  Sicardi | Ayers | Bacino is pleased to present a group exhibition featuring artists Gabriel de la MoraLeón Ferrari, Cildo Meireles, Oscar MuñozMarie OrensanzMiguel Angel RíosMiguel Ángel RojasJohn Sparagana, and Ana Maria Tavares, and we are excited to kick off our summer programming with a return to in-person opening receptions. An essay written by Independent Curator Ximena Gama accompanies the exhibition.
 
Please join us on Thursday, July 8 from 6-8pm for our first in-person opening reception following the pandemic outbreak.
 
As Ximena Gama explains, “The question that inspired this exhibition is how to investigate the relationship that exists between the image and the word, between the work of a visual artist and that of a writer. These two mediums have always been considered opposite disciplines, and tradition has reduced both to their use value. Words are merely an explanation or translation of art, and the image’s sole objective is to illustrate discourse. To accept their incompatibility, however, ignores their poetic power and their capacity, when they dialogue with each other, to inspire imagination and to create a new reality. This is precisely the idea behind Subtext, an exhibition that brings together a series of contemporary artists from Argentina to Mexico who have straddled this border in order to go beyond it. It was on this border between words and images that these artists found a way to approach and understand the tumultuous social reality of Latin America. In their work, word and text combine to become a vehicle that contaminates the formal purity of conceptual art and thus adds a gesture of political criticism to their work.”
 
For more information, please email William Isbell at william@sicardi.com or Monica Hernández at monica@sicardi.com or call 713.529.1313.


 
Preview the exhibition and read the complete essay


SUBTEXT Artists: León Ferrari, Gabriel de la Mora, Cildo Meireles, Oscar Muñoz, Marie Orensanz, Miguel Angel Ríos, Miguel Ángel Rojas, John Sparagana, and Ana Maria Tavares By: Ximena Gama The question that inspired this exhibition is how to investigate the relationship that exists between the image and the word, between the work of a visual artist and that of a writer. These two mediums have always been considered opposite disciplines, and tradition has reduced both to their use value. Words are merely an explanation or translation of art, and the image’s sole objective is to illustrate discourse. To accept their incompatibility, however, ignores their poetic power and their capacity, when they dialogue with each other, to inspire imagination and to create a new reality. This is precisely the idea behind Subtext, an exhibition that brings together a series of contemporary artists from Argentina to Mexico who have straddled this border in order to go beyond it. It was on the border between words and images that these artists found a way to approach and understand the tumultuous social reality of Latin America. The poetic search for and the exploration of different media in Latin America responds to the question of how to create an image of a violent event which by its very nature is “unspeakable” and, thus, unrepresentable.

This is a question not only of what but also of how to represent it, how to remember it, and how to leave its mark on history. In other words, the intensity of daily life in Latin American inspired many of these artists to go beyond traditional ways of making art, with topics that dealt with violence and political protest finding a place in experimentation. These artists, wanting to do more than just send a clear and direct message to the viewer, took on the difficult task of reading reality and its multiple meanings. One of the ways they found to respond to this problem was by combining word and text as a vehicle to contaminate the formal purity of conceptual art and to add a gesture of political criticism to their work. It is precisely within this creative space that each one of these artists found ways to protest and to encounter real humanity and to make their protest heard and remembered. The main point of their work was to show how violence interrupts history by destroying meaning and unleashing a crisis of language. On the one hand, memory would no longer be verbalizable in a classical sense but must now also respond to a fracture in history and the visual arts. Hence the importance given by some artists, such as Oscar Muñoz, Marie Orensanz, Ana Maria Tavares, León Ferrari, and Gabriel de la Mora, to words and texts, to archives and documents. On the other hand, political protest should not be a simplistic form of propaganda but should have recourse to irony in order to insert itself into the system and into popular culture, common strategies within the work of Miguel Ángel Rojas, Cildo Meireles, and Miguel Angel Ríos. Ferrari, for example, spent most of his time in the 1970s and 80s writing illegible letters of protest, drawings containing what look like deformed letters arranged in disordered planes that completely break with the linearity of grammar and linguistics. Orensanz and Tavares carried out installations in public spaces that forced the viewer to physically confront sculptures with their body so that their interaction with the work participated in the process of the construction of meaning in order to activate and decipher the message. Muñoz plays with historical documents by intentionally burning them and making them disappear. Reinterpreting this erasure reminds us that history is also an act that can be deliberately manipulated. Rojas and Meireles reveal the contradictions and paradoxes of the messages and images that circulate daily. For example, the Colombian artist takes the phrase In God We Trust, which appears on dollar bills, and substitutes with the text In Gold We Trust. In the 1970s, Meireles intervened a series of Coca-Cola bottles with subversive texts so that they could circulate in the same markets that he criticized. The artistic activity of both these artists is also political activity, as their written texts, lines of protest, and criticism only makes sense because they are camouflaged within the same system they intend to combat. De la Mora from Mexico and Ríos from Argentina disarticulate the words and images that exist within Western ideology until they are almost unrecognizable. By disorganizing texts and maps, both of these artists challenge the logics that order time and space, rebelling against concepts such as “right” or “left” and “north” or “south” in order to propose another way to read history, one in which the violent logic of power becomes visible. As mentioned at the beginning of this text, each of these aesthetic projects is transformed into material that reorganizes itself to create a social critique and to question the way in which contemporary narratives are constructed.

The poetic voices of these artists not only translate, reveal, and criticize a traumatic and violent reality, they also find a way to create their own language. Within their work, these artists reinterpreted reality and gave meaning to the problems of their time, creating their own language in order to illuminate our present times.

www.sicardi.com

www.gabrieldelamora.com

Gabriel de la Mora @ Primer Seminario Nacional de conservación de pintura de caballete, Desafíos ante el tiempo. 150 años de conservación de pintura en México.

Eje 3. Investigación: materia, tiempo y cambios en las obras. Sesión 3: Martes 15 de junio 2021

www.gabrieldelamora.com

La muestra Cien del MUAC se estructura como un discurso múltiple, guiado no por una línea temática, sino por la relevancia que ciertas obras y autores tienen ya en la consciencia del arte contemporáneo en nuestro país, donde cada pieza aborda en sí misma una historia sobre la colección del  museo y  las prácticas artísticas contemporáneas.

Artistas: Carlos Aguirre, David Alfaro Siqueiros, Francis Alÿs, Carlos Amorales, Julieta Aranda, Carlos Arias Vicuña, Marcela Armas, Francois y Bernard Baschet, Erick Beltrán, Maris Bustamante, Tania Candiani, Mónica Castillo, Miguel Castro Leñero, Arnaldo Coen, Armando Cristeto Patiño, Minerva Cuevas, Ximena Cuevas, Iván Edeza, Felipe Ehrenberg, Juan Francisco Elso, Helen Escobedo, Manuel Felguérez, Claudia Fernández, Julio Galán, Fernando García Ponce, Mario García Torres, Javier de la Garza, Gelsen Gas, Gunther Gerzso, Alberto Gironella, Thomas Glassford, Mathias Goeritz, José Miguel González Casanova, Gráfica del 68, Lourdes Grobet, Silvia Gruner, Yolanda Gutiérrez, Enrique Guzmán, Jan Hendrix, Melquiades Herrera, Hersúa, Roberto Huarcaya, Graciela Iturbiude, Enrique Jezik, Yioshai Jusidman, Leandro Katz, Perla Krauze, Myra Landau, Magali Lara, Pedro Lasch, Daniel Lezama, Rafael Lozano-Hemmer, Ernesto Mallard, Teresa Margolles, César Martínez, Daniel Joseph Martínez, Mónica Máyer, Enrique Metinides, Erick Meyenberg, Sarah Minter, Grupo Mira, Gabriel de la Mora, Rodrigo Moya, Ricardo Nicolayevsky, Yoshua Okón, Gabriel Orozco, Damián Ortega, Rubén Ortiz Torres, Martha Pacheco, Marta Palau, Fernando Palma Rodríguez, Adolfo Patiño, Grupo Proceso Pentágono, Vicente razo, Ricardo Regazzoni, Pedro Reyes, Carla Rippey, Manuel Rocha Iturbide, Miguel Rodríguez Sepúlveda, Vicente Rojo, Graciela Sacco, Kazuya Sakai, José Luis Sánchez Rull, Guillermo Santamarina, Semefo, Teresa Serrano, Santiago Sierra, Melanie Smith y Rafael Ortega, Taller de Documentación Visual, Tercerunquinto, Francisco Toledo, Pablo Vargas Lugo, Germán Venegas, Lorena Wolffer y Nahum B. Zenil.

Apertura de la exposición,  Sábado 12 Junio 2021 , 11:00  am a 5:00 pm

Catálogo disponible en la tienda del museo así como descargable en línea en la página del MUAC.

A 12 años de la última revisión de la colección de este museo, Cien del MUAC explora su acervo artístico y documental para compartir con el público obras que son ya referentes del imaginario y pensamiento colectivos. Con la participación de 96 artistas y colectivos, seleccionamos obras clave en la historia del arte contemporáneo mexicano, con una  variedad de géneros y formatos en un periodo de un poco más de medio siglo.
En este catálogo se incluyen también piezas de reciente adquisición que fortalecen el patrimonio artístico y cultural de la UNAM

Influences pág. 25, 26, 27, 28, 2003 – 2009, papel quemado y caja de acrílico, Papeles quemados 28 x 21.5 cm c/u, Caja de acrílico 8.1 x 28.7 x 22.5 cm c/u, Adquisición a través del Programa Pago en Especie SHCP, 2016.

En 200, de la Mora inicia la serie de Papeles quemados al prenderle fuego a su tesis de maestría. Influences forma parte de esta serie. De la Mora transforma, en un solo gesto entrópico de destrucción como creación, la superficie bidimensional del papel en un objeto tridimensional escultórico.

El trabajo artístico de Gabriel de la Mora involucra prácticas basadas en el paso del tiempo, una experimentación material minuciosa y un diálogo constante con la historia del arte abstracto latinoamericano y el post minimalismo. Obras como Influences constituyen un parteaguas en la trayectoria del artista, ya que inicia una etapa de investigación de la relación entre la imagen y el monocromo, que permearán buena parte de su trabajo en los años posteriopres.

Mónica Amieva

https://muac.unam.mx/exposiciones

www.gabrieldelamora.com

Gabriel de la Mora @ Art Basel Hong Kong 2021 / PROYECTOS MONCLOVA Booth 1D55 / 21.05 – 23.05.2021

 www.proyectosmonclova.com

www.artbasel.com/hong-kong/the-show

www.gabrieldelamora.com

Neornithes

La serie Neornithes se aventura en el ámbito de los materiales de origen animal, ya que emplea plumas de pavo teñidas industrialmente presentadas en 13 tonalidades diferentes.

Neornithes es el término científico bajo el cual se agrupan todas las especies de aves; Una de sus principales características compartidas es que su piel está cubierta de plumas, que posteriormente forman alas. La serie nació de la admiración del artista por los patrones de colores de las aves “plumaje”, así como de su interés en trabajos con plumas de uso común en los primeros pueblos de México y otras culturas primitivas como indicadores del estatus social de la persona que los usa, transmitiendo su poder.

Para esta serie de la Mora implementa una metodología marcadamente rigurosa: selecciona un área reducida de cada pluma, la corta y la pega en un papel. Estos cuadrados luego se organizan para construir patrones cromáticos inspirados en puntos modernistas tomando como referencia la obra del artista Josef Albers.

El corte y pegado de estas plumas en estilo mosaico sobre papel pintado es llevado a cabo con precisión matemática. De la Mora intensifica o atenúa la saturación y brillo del tono de cada pluma coloreando el papel en el que se adhiere, creando una gama de colores más amplia que los 13 tonos originales.

Como consecuencia, el color interactúa con su fondo así como lo hace con los colores de la composición y patrones variados que son  trazados por el artista, generando una cadena infinita de posibilidades geométricas.

Al proponer una nueva forma de crear arte con estos elementos orgánicos, Gabriel de la Mora fusiona su interés por la historia del arte, la experimentación perceptiva e investigación científica.

Gabriel de la Mora @ Art Basel Hong Kong 2021 / PROYECTOS MONCLOVA Booth 1D55 21.05 – 23.05.2021

 www.proyectosmonclova.com

www.artbasel.com/hong-kong/the-show

www.gabrieldelamora.com

墨西哥画家加布里埃尔·德拉莫拉

Neornithes

今鸟亚纲系列作品

Neornithes系列采用工业染色的火鸡羽毛,呈现出13种不同的颜色,大胆尝试进入动物性材料领域。

Neornithes是今鸟亚纲的科学术语,这种鸟类主要的共同特征之一就是它们体表覆盖着大量羽毛,从而形成了翅膀。

这一系列作品源于艺术家对鸟类羽毛色型的欣赏,以及他对羽毛作品的浓厚兴趣。墨西哥原住民和其他早期文化中都普遍使用羽毛,以表明佩戴羽毛者的社会地位,传递出他或她的力量。

对于这一系列,德拉莫拉采用了一种非常严格的方法:他精心挑选出每根羽毛的缩小区域,经裁剪后粘贴到一张纸上。然后这些正方形被巧妙地编排后创建出受现代主义参照点(例如艺术家Josef Albers的作品)启发的彩色图案。

这些以马赛克风格出现在画纸上的羽毛是通过数学精度来实现裁剪和粘贴的。德拉莫拉通过给羽毛所在的纸张上色来增强或减弱羽毛的饱和度和亮度,创造出比13种工业色调更为广泛的色彩范围。从而色彩与背景的相互作用,就像艺术家绘制的动态变化图案色彩之间的相互作用一样,产生出一种无限的几何可能性。 加布里埃尔·德拉莫拉将他对艺术史、感知实验以及科学研究的兴趣融合在一起,提出了一种全新的艺术创作形式

Gabriel de la Mora @ Art Basel Hong Kong 2021 / PROYECTOS MONCLOVA Booth 1D55 21.05 – 23.05.2021

 www.proyectosmonclova.com

www.artbasel.com/hong-kong/the-show

www.gabrieldelamora.com