Archivos para la categoría: Gabriel de la Mora
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.

November 17th, 2017 – January 21th, 2018.

MFAH, The Museum of Fine Arts, Houston. 1001 Bissonnet, Houston, Texas 77005.


z IMG_5338-webd2 copia

Inicié la serie de papeles quemados el jueves 25 de octubre de 2007 y el miércoles 8 de noviembre de 2017 terminé la última pieza.

Me llevó 3,668 días el completar la serie de 16 piezas (43 papeles quemados), de las cuales corresponden a 5 páginas blancas y 38 páginas de mi Tesis de Maestría en Pratt Institute (2001-2003).


I started the Burnt Paper Series on thrusday october 25th, 2007 and today wednesday november 8th, 2017 I just finished the last piece.

It took me 3,668 days to complete the 16 pieces (43 burnt papers) from the series, 5 blank pages and 38 pages from my Thesis at Pratt Institute (2001-2003).




MCI / 144 III f, 2017 Mantillas de caucho de Offset desechadas sobre madera / Discarded rubber blanket from offset printing press, mounted on wood Dimensions: 120 x 90 x 4 cm 47.24 x 35.43 x 1.57 inches

MCI / 144 III f, 2017, Mantillas de caucho de Offset desechadas sobre madera / Discarded rubber blanket from offset printing press, mounted on wood – Dimensions: 120 x 90 x 4 cm / 47.24 x 35.43 x 1.57 inches.


SIN TÍTULO (Untitled) curated by Dan Cameron;
P.S. Satellites – A Project of Prospect New Orleans

Hugo Crosthwaite
Jose Dávila
Gabriel de la Mora
Rafael Lozano-Hemmer
Pablo Rasgado
Pedro Reyes
Martín Soto Climent


Jonathan Ferrara Gallery, in collaboration with the Consulate of Mexico in New Orleans, is proud to present Sin Título (Untitled), a group exhibition of contemporary Mexican artists organized by New York-based curator Dan Cameron. Sin Título will open at the Jonathan Ferrara Gallery on November 4 and run through December 30, 2017. The exhibition is an official satellite exhibition of Prospect.4 New Orleans, the triennial that Cameron founded shortly after Hurricane Katrina. Sin Título is the first time a group exhibition of contemporary Mexican art ever presented in New Orleans and the Southeast of the United States.

The exhibition will be presented simultaneously at Jonathan Ferrara Gallery on Julia Street and nearby at the Art Gallery of the Consulate of Mexico on Convention Center Boulevard. Both locations are in the Arts District of New Orleans.  The featured artists for Sin Título are Hugo Crosthwaite, Jose Davila, Gabriel de la Mora, Rafael Lozano-Hemmer, Pablo Rasgado, Pedro Reyes and Martin Soto Climent.

Coinciding with New Orleans’ celebration of its 300th anniversary in 2018, Sin Título’s historical backdrop is the centuries-old political and cultural bond between the city and its southern neighbor. Whether musical or gastronomical, traces of Mexican culture from colonial to modern times can be found throughout New Orleans today, and the purpose of Sin Título is to add contemporary visual art to that rich exchange.

Ever since the international emergence of Gabriel Orozco and his circle of artist-contemporaries in the mid-1990s signaled a sea change in the art world’s opinion of Mexican art, the country’s gallery and museum scene has expanded dramatically. Correspondingly, while the six artists in Sin Título have all shown their work on multiple occasions in the U.S., the only previous occasion when any have shown in New Orleans was Prospect.1 in 2008, when Pedro Reyes’ sculpture was shown at the Contemporary Arts Center and Rafael Lozano-Hemmer presented and installation at the New Orleans Museum of Art.

As a specialist in both New Orleans and Latin American contemporary art, curator Dan Cameron has written and curated numerous projects on both topics over the past twenty years. Based in New York, he lived from 2007-2012 in New Orleans, founding and directing the first two editions of Prospect Biennial and was Visual Arts Director at CAC from 2007-2010, organized the XIII Bienal de Cuenca in Ecuador in 2016, and is Guest Curator of Kinesthesia: Latin American Kinetic Art 1954-1969, which part of the Pacific Standard Time initiative funded by the Getty Foundation, and opens at Palm Springs Art Museum in September.

The exhibition title, Sin Título, is both a direct reference to the example of Felix Gonzalez-Torres, who often left his works untitled, and an indirect reference to the cultural and political realities of the present age, in which positive emphasis of the rich cultural ties between Mexico and the U.S., and in particular the City of New Orleans, is an area that seems far too frequently overlooked

A public panel with Curator Dan Cameron and visiting artists Hugo Crosthwaite and Pablo Rasgado will be held on November 2, 2017 at the Contemporary Arts Center (900 Camp St) from 6-8 pm. Sin Título will open the following Saturday November 4, 2017 with receptions at both galleries from 6-9 pm for the Arts District of New Orleans First Saturday Gallery Openings. In conjunction with the VIP opening weekend of Prospect.4, the gallery will host a Special Curators Reception on Friday November 17th from 4-7 pm during the Prospect.4 Julia Street Celebration. Curator Dan Cameron will be present at both events.  The exhibition will be on view through December 30, 2017. For more information, please contact, Jonathan Ferrara Gallery at 504.522.5471 or

Please join the conversation with JFG on Facebook (@Jonathan Ferrara Gallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags #SinTitulo, #PSsatellites, #ArtsDistrictNewOrleans and #JonathanFerraraGallery.


4 November – 30 December 2017
– Jonathan Ferrara Gallery (400A Julia Street)


Sin Título Panel Discussion with curator and visitng artists: Hugo Crosthwaite and Pablo Rasgado
2 November 6-8PM at Contemporary Arts Center

First Saturday Gallery Openings
4 November + 2 December, 6-9PM at Jonathan Ferrara Gallery
400A Julia Street
Curator’s Reception: P.4 Arts District Gallery Walk
17 November, 4-7PM at both locations.




Proyectos Monclova

3.11.2017 – 5.11.2017 /  booth Hall Light Blue Stand 1 & Hall Black Stand 2


Gabriel de la Mora

Ištvan Išt Huzjan

Adrien Missika

Raúl Ortega Ayala

Michael Sailstorfer

Martín Soto Climent

Anna Virnich.


Proyectos Monclova

3.11.2017 – 5.11.2017 /  booth Hall Light Blue Stand 1 & Hall Black Stand 2

Gabriel de la Mora

Ištvan Išt Huzjan

Adrien Missika

Raúl Ortega Ayala

Michael Sailstorfer

Martín Soto Climent

Anna Virnich.




20 Archivo V.V. 1948-49, 2012, Plata sobre gelatina / Silver on gelatin, Dimensions: 51.6 x 46.5 x 4.5 cm – 20.31 x 18.30 x 1.77 inches.



CI / 63 I - cl, 2017

CI / 63 I – cl, 2017. Laca sobre cubreobjetos de cristal para microscopio sobre cartulina de museo / Lacquer on glass microscope coverslips on museum board 40 x 50 x 6 cm – 15.74 x 19.68 x 2.36 inches. Serie Cristales de Inevidencia / Crystals of Inevidence series.



Gabriel de la Mora: Crystals of Invidence, Sicardi Gallery, Houston  2017, Photo: Paul Hester.

Gabriel de la Mora: Crystals of Inevidence / Cristales de Inevidencia.

September 14 – October 19, 2017.

Sicardi Gallery

1506 W. Alabama St.
Houston, Texas 77006 USA.

(T) +1 713.529.1313
(F) +1 713.529.0443

Tuesday – Friday 10-6
Saturday 11-6
or by appointment.


Crystals of Inevidence


Throughout his artistic career, Gabriel de la Mora has studied the history of constructive art and in particular the relationship between monochrome and image. Crystals of Inevidence displays a series of visual games from the organization of coverslips -an industrial and monochromatic artifact- over two-dimensional monochromatic surfaces. Through this aesthetic process, the objects used in clinical labs for empirical examination, take on a symbolic character. What from an objective perception seems at first glance as a retinal experience of the artistic piece unexpectedly reveals what the transparency is hiding. What at first glance seems as a retinal experience from an objective point of view unexpectedly reveals what the transparency is hiding.

The parade of shadows and color displayed by this series of thirteen, refers us to a modernist monochrome tradition, while the organization of the objects reveal a geometric composition that shifts depending on the light and the position of the spectator. In this regard, the systematic organization of translucent objects and monochromes over two-dimensional planes unhide the non-obvious through modular structures and light contrasts. In this configuration plot, the placement of both the piece and the spectator give access to a sensory experience that gives way to an unrealistic phenomenon.

Unlike scientific proof, which consists on the rationalization of evidence, the work of Gabriel de la Mora focuses on the opposite: the disappearance of the objectual literality of minimalism into an optical conspiracy. These schematic manifestations that at a distance look like atmospheres drawn on the surface, are visual structures on which transparent objects hide in webs woven by their own shadows and light reflections. They appear and disappear, they show themselves only to hide later, as the piece is mounted, transferred and removed.

The use of prefabricated objects in the art of Gabriel de la Mora is consistent with the ready-made technique and the literality of minimalism. In this sense, objects are used as a physical presence, an aesthetic resource for the unveiling and disappearance. Thus, their functional sense is redesigned in the visual sensuality of shifting and ephemeral modular shapes. What we see is not what we really saw, since the evidence of its appearance is a ghostly phenomenon. The organizational rationality of this selection of thirteen pieces is clear testimony of the way in which de la Mora interweaves an aesthetic link to the history of constructive shapes, apparently functional and evident, in order to hold an imperceptible sensory space whose symbolic potential lies in its inevitable disappearance.

Unlike an opaque object, a translucent object reveals its interior. When such transparency shows the inevident, meaning a geometric ephemeral presence, there is a poetic opening in which vision is able to meet the sensory field of the imperceptible. This aesthetic allows for a review of the constructive forms where the objectual is displayed as a three-dimensional illusion on a plane. The inevidence is decanted as a shape molded by the emptiness, a haptic emptiness accessible to all the senses. The vision invites the spectator to take a look inside the crystals to be part of an illusory trap and to experience the appearance of the inevident. The shift between translucent objectuality and illusory projection gives way to a pendulous visuality in which the transparency of the object appears as an optical figuration that, far from the trompe-l’oeil, originates from the direct relationship with what is real. This scheme of illusory appearance unhides monochrome reticles as geometric spectra. With the Crystals of Inevidence series, de la Mora places a bet on the surface for the decryption of a constructivist functionality that is revealed, paradoxically, from the monochromatic transparency.


Willy Kautz



Cristales de inevidencia


A lo largo de su trayectoria artística Gabriel de la Mora ha investigado la historia del arte constructivista y, en particular, la relación entre el monocromo y la imagen. La serie Cristales de inevidencia, coloca a la vista una serie de juegos visuales a partir de la organización de cubre objetos, -un artefacto industrial y monocromático-, sobre superficies monocromas bidimensionales. Por medio de este procedimiento estético, estos objetos utilizados en laboratorios clínicos para la examinación empírica, adquieren un carácter simbólico. Lo que a golpe de vista se percibe como una experiencia retiniana en la percepción objetual de la obra, desvela, paradójicamente, aquello que la transparencia oculta.


El juego de sombras y colores que despliega esta serie de trece obras nos remite a la tradición del monocromo modernista, al tiempo que la organización de los objetos desvelan composiciones geométricas que cambian dependiendo de la luz y la posición del espectador. En este sentido, la organización sistemática de objetos translúcidos y monocromos sobre planos bidimensionales, desocultan lo inevidente por medio de estructuras modulares y contrastes lumínicos. En esta trama de configuraciones la colocación tanto de las obras como del espectador dan acceso a una experiencia sensorial que bien podría entenderse como una fenomenología de lo ilusorio.


A diferencia de la prueba científica cuyo objeto de estudio consiste en la racionalización de la evidencia, la obra de Gabriel de la Mora se centra en su opuesto: desvanecer la literalidad objetual del minimalismo en una trama óptica. Estas apariciones esquemáticas que a distancia parecen atmósferas trazadas sobre una superficie, son estructuras visuales en las que los objetos trasparentes se ocultan en redes tejidas por sus propias sombras y reflejos luminosos. Aparecen y desaparecen, se muestran para luego ocultarse nuevamente, en la medida en que la obra se monta, se desplaza y se desmonta.


El uso de objetos prefabricados en la obra de Gabriel de la Mora, son consecuentes con el procedimiento del ready-made y la literalidad minimalista. En este sentido se utilizan como presencia física, un recurso estético para figurar el desvelamiento y el desvanecimiento. Por lo tanto, el sentido utilitario de los objetos, se redimensionan en la sensualidad visual de formas modulares cambiantes y fugaces. Aquello que vemos no es lo que vemos, puesto que la evidencia de su aparición es un fenómeno fantasmal. La racionalidad organizacional de esta selección de trece obras, dan testimonio de cómo de la Mora entreteje una estética ligada a la historicidad de las formas constructivas, aparentemente funcionales y evidentes, para sujetar un espacio sensorial inmaterial, cuyo potencial simbólico radica en su inevitable desaparición.


Si bien un objeto translúcido a diferencia del opaco revela su interior; cuando la transparencia muestra lo inevidente, es decir, una presencia geométrica fugaz, tiene lugar una apertura poética en la que el ver es capaz de testimoniar el campo sensorial de lo inmaterial. Esta estética permite una revisión de las formas constructivas, cuando lo objetual se muestra en tanto que ilusión tridimensional sobre un plano. La inevidencia se decanta como forma que nos abre el vacío. Pero un vacío háptico, accesible a los sentidos. Tal visualización invita al espectador a mirar al interior de los cristales para evidenciar una trampa ilusoria, o bien, la aparición de lo inevidente.  Este movimiento entre la objetualidad translúcida y las proyección ilusorias, da pie a una visualidad pendular en la que la transparencia objetual aparece como figuración óptica que, lejos del trampantojo, emana de su relación directa con lo real. Este esquema de aparición ilusoria desoculta retículas monocromas en tanto que espectros geométricos. Con la serie Cristales de inevidencia, de la Mora coloca sobre la superficie una apuesta por la desencriptación de una figurabilidad constructivista que se revela, paradójicamente, desde la transparencia monocromática.

Willy Kautz