A partir de este próximo miércoles 2 de septiembre de 2020 y  durante todo el mes, se podrá visitar en el Museo Nacional de Arte, MUNAL, la exposición individual de Gabriel de la Mora: Originalmentefalso, curada por Abraham Villavicencio en la Ciudad de México.

Starting this upcoming wednesday, September 2, 2020 and throughout this month, the solo exhibition of Gabriel de la Mora: Originallyfake, curated by Abraham Villavicencio, can be visited at the National Museum of Art, MUNAL in Mexico City.

http://www.munal.mx

http://www.gabrieldelamora.com

 

MUNAL 3

Felicidades a la gran familia PROYECTOSMONCLOVA en esta nueva etapa. /Congratulations to the great PROYECTOSMONCLOVA family in this new challenge. 

 

Captura de Pantalla 2020-08-20 a la(s) 15.54.44 2

Lamartine 415
Polanco, Polanco V Secc, Miguel Hidalgo, 11560 Ciudad de México, CDMX
INSTAGRAM – FACEBOOK
proyectosmonclova.com
info@proyectosmonclova.com

The Servais Family Collection and The Loft present AMEXICA, an exhibition with artworks from the collection curated by Marisol Rodríguez. Featuring the work of Yoshua Okón, Gabriel de la Mora, Daniel Aguilar Ruvalcaba, Fritzia Irizar, Nathan Mabry, Teresa Margolles, Federico Martínez, Gabriel Orozco, Ariel Orozco, Daniela Rossell among others.

AMEXICA aims at exploring the symbolic beyond the geopolitical by way of the personal and the popular, the lived experiences of the artists, the collector and the curator in a selection of works inspired by, coming from, dealing with, and aiming at Mexico.

On view until July 2021 by appointment collection.servais@gmail.com

 

Gabriel de la Mora, D.A.S., 1974 capas de pintura, 2011, acrílico sobre masonite y marco de madera con vidrio / acrylic on masonite and frame of wood with glass, díptico / diptych 40 x 35.5 x 7.9 cm /  15.74 x 13.97 x 3.11 inches, 25.4 x 20.4 x 3 cm / 10 x 8.03 x 1.18 inches, serie Originalmentefalso / Originallyfake series.

These piece come from an open-air market held on the median of Alvaro Obregon Avenue in Mexico City, where works by renowned artists are sold at accessible prices- such as the MX$500 (approx. USD$42) paid for a flaming tree by David Alfaro Siqueiros complete with  a forged certificates from the Cultural Legacy of David Alfaro Siqueiros bearing Adriana Siqueiros’s signature.

These piece continues an obsessive spiral in Gabriel de la Mora’s work – painting in layers – whereby the center of visual attention is displaced from the main surface, a white monochrome, to the edges of the canvas, which are saturated with color.  For its titles, the artist arbitrarily chose the year Siqueiros died, while the chromatic sequence of applying layers of paint hinged on a calculation process based on the palettes employed in the forgery:

120 layers of intense black #302
200 layers of carmine #319
60 layers of fall yellow #318
20 layers of carmine #319
100 layers of fall yellow #318
60 layers of titanium white #301
200 layers of rust red (intense black #302 plus carmine #319)
10 layers of titanium white #301
60 layers of intense black #302
150 layers of carmine #319
40 layers of bright orange #332
10 layers of intense black #302
70 layers of bright orange #332
110 layers of rust red (intense black #302 plus carmine #319)
30 layers of bright yellow (fall yellow #318 and titanium white #301)
209 layers of ochre #303
50 layers of carmine #319
5 layers of intense black #302
70 layers of rust red (intense black #302 and carmine #319)
20 layers of bright orange #332
5 layers of titanium white #301
90 layers of bright ochre (ochre #303 and titanium white #301)
10 layers of intense black #302
100 layers of carmine #319
94 layers of white titanium #301

5 layers of vanish to preserve the work in time

 

IMG_3165Process

 

www.amexica.me

www.gabrieldelamora.com

www.proyectosmonclova.com

 

 

Gabriel de la Mora, 44,400 III, 2018, made of 1,776 used sides of 888 matchboxes from 44,400 burnt matches on cardboard. Framed dimensions: 100 x 80.5 x 4.2 cm.

unnamed (1)

https://untitled.artland.com/

www.proyectosmonclova.com

www.gabrieldelamora.com

Gabriel de la Mora, T.P. 15 II, 2012, 3,646 bolitas de unicel sobre papel / 3,646 styrofoam balls on paper, 78.6 x 65.5 cm / 30.94 x 25.78 inches.

www.gabrieldelamora.com

www.perrotin.com

www.proyectosmonclova.com

www.sicardi.com

www.timothytaylor.com

 

Gabriel de la Mora @ Dialogues / Sicardi Ayers Bacino / July 15 – August 29, 2020

Artists: Jesús Rafael Soto, Francisco Sobrino, Carlos Cruz-Diez, Mercedes Pardo, Sérvulo Esmeraldo, Iole de Freitas, León Ferrari, Ana María Tavares, Thomas Glassford, Marco Maggi y Gabriel de la Mora.

Sicardi Ayers Bacino is pleased to present the exhibition Dialogues, on view from July 15 to August 29, 2020. This exhibition underscores the gallery’s core program since the 1990s: the search for challenging links between recognized modernists and mid-career and emerging artists.

Pioneers of the Op Art and Kinetic Art movement, Jesús Rafael Soto and Francisco Sobrino explored the viewer’s relationship to the art object, activating the space around the work through color and form. Carlos Cruz-Diez used the science of color theory to immerse the viewer in the experience of pure color. These and other artists of this generation, including Mercedes Pardo and Sérvulo Esmeraldo, were part of a vibrant expatriate community in Paris during the 1960s and 1970s. Exploring color, form, and space in two and three dimensions, they often invited the viewer to engage in a dynamic relationship with a bold colors and constantly shifting forms, as is evidenced in Sobrino’s Transformation Instable (1971/2013). Iole de Freitas, a native of Brazil who spent eight years in Italy, uses ordinary materials in sculptures that incorporate the elements of space and time.

León Ferrari spent his career between Argentina and Brazil, where he was actively involved in both the formal artistic concerns and the politics of his generation during the Argentine dictatorship in the 1960s.

In dialogue with these Modern masters, contemporary artists including Ana Maria Tavares, Thomas Glassford, Marco Maggi, and Gabriel de la Mora continue the exploration of abstraction through works with an underlying formal structure, but they ground their artistic production more in the conceptual than the perceptual realm. Ana Maria Tavares uses industrial materials to explore the emotional and psychological impact on the transformation of Latin American cities by Modern architecture and design in the mid 1990s. Glassford’s Stela series speaks to his investigation of consumerism through the lens of a ubiquitous and utilitarian object: the broomstick. While De la Mora also works with found objects, his investigations center around exploring the conceptual meaning of art and the liminal space between drawing, painting, and sculpture. Maggi invites the viewer to slow down and look closely, a notion that is highly counter-cultural in the age of technology.

 

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

www.sicardi.com

www.gabrieldelamora.com

 

Gabriel de la Mora: Neornithes, 15 June – 11 July 2020, London

Timothy Taylor is delighted to present Neornithes, a new body of work by Gabriel de la Mora. Referring to the taxonomic description for modern birds, Neornithes represents the culmination of de la Mora’s investigations into the role of biological material as both medium and metaphor.

Gabriel de la Mora, 1,116 IV, 2020, Plumas de pavo pigmentada sobre cartulina de museo / Pigmented turkey feathers on museum cardboard, 43 x 43 x 4 cm / 16.93 x 16.93 x 1.57 inches, Serie Neornithes / Neornithes Series.

Photos: Photos of the bird and the Prehispanic Mendoza Codex were download from Internet.

SERIE

Neornithes

2018-PRESENTE

La información es una de las preocupaciones centrales dentro de la práctica de Gabriel de la Mora: varias de sus series están conformadas por materiales que acarrean consigo rastros de la historia de la ciudad, de funciones que desempeñaban previamente, o, simplemente, material genético (éste es el caso de las series Sangre y Capilares). De forma similar a CaCO3, la serie realizada con fragmentos de cascarones de huevo, Neornithes se aventura dentro del campo de los materiales obtenidos de animales y emplea plumas provenientes de gallinas, teñidas industrialmente, y presentadas en trece colores distintos.
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 recubierta de plumas, las cuales a su vez forman sus alas. La serie nace tanto de la admiración del artista de los patrones de colores que estos elementos forman, al igual que de su interés en el arte plumario, tanto mexicano como el perteneciente a otras culturas, cuya función principal es denotar poder y marcar el estatus social de quien lo porta. ¿Cómo puede ser afectada o transformada esta tradición milenaria?
Como es habitual, De la Mora implementa una metodología particularmente rigurosa en esta serie: selecciona un área reducida de cada pluma, la corta y la pega sobre un papel que ha sido pintado en un color a juego o en uno contrastante. Inspirado por los experimentos de Josef Albers sobre el color y su percepción, el artista intensifica o matiza el tono y el brillo de cada pluma al pintar el papel sobre el que la coloca, dando cabida a un registro de colores mucho más amplio que el disponible en el mercado. Como resultado, el color de cada pluma interactúa con el fondo, al igual que con los colores de cada patrón diseñado por el artista, que son múltiples y variados: cada uno de ellos toma como base una retícula creada por diversas combinaciones de líneas, las cuales generan una secuencia infinita de posibilidades.
Así, Neornithes explora de nueva cuenta varios de los intereses tratados previamente en el cuerpo de obra de De la Mora –el concepto del monocromo, por ejemplo, que se transforma aquí en una tarea inútil dada la textura de las plumas y su forma de refractar la luz–, y establece un diálogo intenso con algunas de sus series anteriores. Capilares, CaCO3 y Neornithes, series realizadas respectivamente con pelo humano, fragmentos de cascarón de huevo y plumas (todos portadores de información, genética o de otro tipo) apuntan al terreno común ancestral que los científicos han encontrado entre mamíferos, reptiles y aves. Al proponer una nueva forma de crear arte con estos elementos orgánicos, Gabriel de la Mora fusiona su interés en la historia del arte, en la experimentación perceptual y en la investigación científica. Neornithes, por lo tanto, marca un momento de culminación dentro de las investigaciones que el artista ha ido desarrollando a lo largo de la última década.

 

_ _ _ _ _ _ _

 

SERIE

Neornithes

2018-ONGOING

Information is at the core of Gabriel de la Mora’s practice — many of his series are made from materials that carry within themselves traces of the city’s past, of former functions, or that contain genetic material (as is the case of the series Blood and Capillaries). Similarly to CaCO3, a series made from eggshell fragments, Neornithes ventures into the realm of animal-sourced materials as it employs industrially dyed hen feathers presented in 13 different hues.
Neornithes is the scientific term under which all the bird species are grouped, one of their main shared features is that their skin is covered with feathers, which subsequently form wings. The series springs from the artist’s admiration of the colored patterns of birds’ plumage, as well as from his interest and concern in featherworks, be it from Mexico’s originary peoples or from other cultures, instrumental elements in showing the social status of the person who wears them and transmitting his or her power. How can this technique be updated or transformed?
As customary, in this series De la Mora implements a distinctly rigorous methodology: he selects a reduced area of each feather, cuts it, and pastes it onto a paper which has been painted in either a matching color or contrasting one. Inspired by Josef Albers’s experiments on color and its perception, the artist increases or decreases the intensity and brightness of each feather’s tone by coloring the paper on which it rests, creating a wider range of colors than the 13 off-the-counter ones. As a result, the feather’s color interacts with its background as with the colors of the pattern devised by the artist, which are manifold and varied — each one takes a grid created by different configurations of lines as a starting point, and they generate an infinite sequence of possibilities.
Neornithes returns thus to previous explorations found in de la Mora’s body of work –the concept of the monochrome, for example, which turns into a futile task given the feathers’ texture– and engages in an intense dialogue with many of his previous series. Capillaries, CaCO3, and Neornithes, respectively made out of human hair, eggshells, and feathers (all bearers of information, genetic or otherwise) point to the ancestral common ground scientists have found between mammals, reptiles, and birds. By proposing a new form of creating art with these organic elements, Gabriel de la Mora merges his interest in art history, in perceptual experimentation, and scientific research. Neornithes, therefore, marks a moment of culmination within the inquiries the artist has unraveled during the past decade.

 

www.timothytaylor.com

www.gabrieldelamora.com

 

 

 

 

Gabriel de la Mora: Neornithes, 15 June – 11 July 2020, London

Timothy Taylor is delighted to present Neornithes, a new body of work by Gabriel de la Mora. Referring to the taxonomic description for modern birds, Neornithes represents the culmination of de la Mora’s investigations into the role of biological material as both medium and metaphor.

Gabriel de la Mora, 1,116 IV, 2020, Plumas de pavo pigmentada sobre cartulina de museo / Pigmented turkey feathers on museum cardboard, 43 x 43 x 4 cm / 16.93 x 16.93 x 1.57 inches, Serie Neornithes / Neornithes Series.

Photos: Photos of the bird and the Prehispanic Codex were download from Internet.

 

SERIE

Neornithes

2018-PRESENTE

La información es una de las preocupaciones centrales dentro de la práctica de Gabriel de la Mora: varias de sus series están conformadas por materiales que acarrean consigo rastros de la historia de la ciudad, de funciones que desempeñaban previamente, o, simplemente, material genético (éste es el caso de las series Sangre y Capilares). De forma similar a CaCO3, la serie realizada con fragmentos de cascarones de huevo, Neornithes se aventura dentro del campo de los materiales obtenidos de animales y emplea plumas provenientes de gallinas, teñidas industrialmente, y presentadas en trece colores distintos.
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 recubierta de plumas, las cuales a su vez forman sus alas. La serie nace tanto de la admiración del artista de los patrones de colores que estos elementos forman, al igual que de su interés en el arte plumario, tanto mexicano como el perteneciente a otras culturas, cuya función principal es denotar poder y marcar el estatus social de quien lo porta. ¿Cómo puede ser afectada o transformada esta tradición milenaria?
Como es habitual, De la Mora implementa una metodología particularmente rigurosa en esta serie: selecciona un área reducida de cada pluma, la corta y la pega sobre un papel que ha sido pintado en un color a juego o en uno contrastante. Inspirado por los experimentos de Josef Albers sobre el color y su percepción, el artista intensifica o matiza el tono y el brillo de cada pluma al pintar el papel sobre el que la coloca, dando cabida a un registro de colores mucho más amplio que el disponible en el mercado. Como resultado, el color de cada pluma interactúa con el fondo, al igual que con los colores de cada patrón diseñado por el artista, que son múltiples y variados: cada uno de ellos toma como base una retícula creada por diversas combinaciones de líneas, las cuales generan una secuencia infinita de posibilidades.
Así, Neornithes explora de nueva cuenta varios de los intereses tratados previamente en el cuerpo de obra de De la Mora –el concepto del monocromo, por ejemplo, que se transforma aquí en una tarea inútil dada la textura de las plumas y su forma de refractar la luz–, y establece un diálogo intenso con algunas de sus series anteriores. Capilares, CaCO3 y Neornithes, series realizadas respectivamente con pelo humano, fragmentos de cascarón de huevo y plumas (todos portadores de información, genética o de otro tipo) apuntan al terreno común ancestral que los científicos han encontrado entre mamíferos, reptiles y aves. Al proponer una nueva forma de crear arte con estos elementos orgánicos, Gabriel de la Mora fusiona su interés en la historia del arte, en la experimentación perceptual y en la investigación científica. Neornithes, por lo tanto, marca un momento de culminación dentro de las investigaciones que el artista ha ido desarrollando a lo largo de la última década.

 

_ _ _ _ _ _ _

 

SERIE

Neornithes

2018-ONGOING

Information is at the core of Gabriel de la Mora’s practice — many of his series are made from materials that carry within themselves traces of the city’s past, of former functions, or that contain genetic material (as is the case of the series Blood and Capillaries). Similarly to CaCO3, a series made from eggshell fragments, Neornithes ventures into the realm of animal-sourced materials as it employs industrially dyed hen feathers presented in 13 different hues.
Neornithes is the scientific term under which all the bird species are grouped, one of their main shared features is that their skin is covered with feathers, which subsequently form wings. The series springs from the artist’s admiration of the colored patterns of birds’ plumage, as well as from his interest and concern in featherworks, be it from Mexico’s originary peoples or from other cultures, instrumental elements in showing the social status of the person who wears them and transmitting his or her power. How can this technique be updated or transformed?
As customary, in this series De la Mora implements a distinctly rigorous methodology: he selects a reduced area of each feather, cuts it, and pastes it onto a paper which has been painted in either a matching color or contrasting one. Inspired by Josef Albers’s experiments on color and its perception, the artist increases or decreases the intensity and brightness of each feather’s tone by coloring the paper on which it rests, creating a wider range of colors than the 13 off-the-counter ones. As a result, the feather’s color interacts with its background as with the colors of the pattern devised by the artist, which are manifold and varied — each one takes a grid created by different configurations of lines as a starting point, and they generate an infinite sequence of possibilities.
Neornithes returns thus to previous explorations found in de la Mora’s body of work –the concept of the monochrome, for example, which turns into a futile task given the feathers’ texture– and engages in an intense dialogue with many of his previous series. Capillaries, CaCO3, and Neornithes, respectively made out of human hair, eggshells, and feathers (all bearers of information, genetic or otherwise) point to the ancestral common ground scientists have found between mammals, reptiles, and birds. By proposing a new form of creating art with these organic elements, Gabriel de la Mora merges his interest in art history, in perceptual experimentation, and scientific research. Neornithes, therefore, marks a moment of culmination within the inquiries the artist has unraveled during the past decade.

 

www.timothytaylor.com

www.gabrieldelamora.com

Gabriel de la Mora: Neornithes, 15 June – 11 July 2020, London

Timothy Taylor is delighted to present Neornithes, a new body of work by Gabriel de la Mora. Referring to the taxonomic description for modern birds, Neornithes represents the culmination of de la Mora’s investigations into the role of biological material as both medium and metaphor.

Gabriel de la Mora, 1,428 I, 2020, Plumas de pavo pigmentada sobre cartulina de museo / Pigmented turkey feathers on museum cardboard, 60 x 60 x 4 cm / 23.62 x 23.62 x 1.57 inches, Serie Neornithes / Neornithes Series.

Photos: Photos of the bird and the Prehispanic Codex were download from Internet.

 

SERIE

Neornithes

2018-PRESENTE

La información es una de las preocupaciones centrales dentro de la práctica de Gabriel de la Mora: varias de sus series están conformadas por materiales que acarrean consigo rastros de la historia de la ciudad, de funciones que desempeñaban previamente, o, simplemente, material genético (éste es el caso de las series Sangre y Capilares). De forma similar a CaCO3, la serie realizada con fragmentos de cascarones de huevo, Neornithes se aventura dentro del campo de los materiales obtenidos de animales y emplea plumas provenientes de gallinas, teñidas industrialmente, y presentadas en trece colores distintos.
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 recubierta de plumas, las cuales a su vez forman sus alas. La serie nace tanto de la admiración del artista de los patrones de colores que estos elementos forman, al igual que de su interés en el arte plumario, tanto mexicano como el perteneciente a otras culturas, cuya función principal es denotar poder y marcar el estatus social de quien lo porta. ¿Cómo puede ser afectada o transformada esta tradición milenaria?
Como es habitual, De la Mora implementa una metodología particularmente rigurosa en esta serie: selecciona un área reducida de cada pluma, la corta y la pega sobre un papel que ha sido pintado en un color a juego o en uno contrastante. Inspirado por los experimentos de Josef Albers sobre el color y su percepción, el artista intensifica o matiza el tono y el brillo de cada pluma al pintar el papel sobre el que la coloca, dando cabida a un registro de colores mucho más amplio que el disponible en el mercado. Como resultado, el color de cada pluma interactúa con el fondo, al igual que con los colores de cada patrón diseñado por el artista, que son múltiples y variados: cada uno de ellos toma como base una retícula creada por diversas combinaciones de líneas, las cuales generan una secuencia infinita de posibilidades.
Así, Neornithes explora de nueva cuenta varios de los intereses tratados previamente en el cuerpo de obra de De la Mora –el concepto del monocromo, por ejemplo, que se transforma aquí en una tarea inútil dada la textura de las plumas y su forma de refractar la luz–, y establece un diálogo intenso con algunas de sus series anteriores. Capilares, CaCO3 y Neornithes, series realizadas respectivamente con pelo humano, fragmentos de cascarón de huevo y plumas (todos portadores de información, genética o de otro tipo) apuntan al terreno común ancestral que los científicos han encontrado entre mamíferos, reptiles y aves. Al proponer una nueva forma de crear arte con estos elementos orgánicos, Gabriel de la Mora fusiona su interés en la historia del arte, en la experimentación perceptual y en la investigación científica. Neornithes, por lo tanto, marca un momento de culminación dentro de las investigaciones que el artista ha ido desarrollando a lo largo de la última década.

 

_ _ _ _ _ _ _

 

SERIE

Neornithes

2018-ONGOING

Information is at the core of Gabriel de la Mora’s practice — many of his series are made from materials that carry within themselves traces of the city’s past, of former functions, or that contain genetic material (as is the case of the series Blood and Capillaries). Similarly to CaCO3, a series made from eggshell fragments, Neornithes ventures into the realm of animal-sourced materials as it employs industrially dyed hen feathers presented in 13 different hues.
Neornithes is the scientific term under which all the bird species are grouped, one of their main shared features is that their skin is covered with feathers, which subsequently form wings. The series springs from the artist’s admiration of the colored patterns of birds’ plumage, as well as from his interest and concern in featherworks, be it from Mexico’s originary peoples or from other cultures, instrumental elements in showing the social status of the person who wears them and transmitting his or her power. How can this technique be updated or transformed?
As customary, in this series De la Mora implements a distinctly rigorous methodology: he selects a reduced area of each feather, cuts it, and pastes it onto a paper which has been painted in either a matching color or contrasting one. Inspired by Josef Albers’s experiments on color and its perception, the artist increases or decreases the intensity and brightness of each feather’s tone by coloring the paper on which it rests, creating a wider range of colors than the 13 off-the-counter ones. As a result, the feather’s color interacts with its background as with the colors of the pattern devised by the artist, which are manifold and varied — each one takes a grid created by different configurations of lines as a starting point, and they generate an infinite sequence of possibilities.
Neornithes returns thus to previous explorations found in de la Mora’s body of work –the concept of the monochrome, for example, which turns into a futile task given the feathers’ texture– and engages in an intense dialogue with many of his previous series. Capillaries, CaCO3, and Neornithes, respectively made out of human hair, eggshells, and feathers (all bearers of information, genetic or otherwise) point to the ancestral common ground scientists have found between mammals, reptiles, and birds. By proposing a new form of creating art with these organic elements, Gabriel de la Mora merges his interest in art history, in perceptual experimentation, and scientific research. Neornithes, therefore, marks a moment of culmination within the inquiries the artist has unraveled during the past decade.

 

www.timothytaylor.com

www.gabrieldelamora.com

 

https://museotamayo.org/eltamayoencasa/esp/coleccion/originalmentefalso.html

NOTA: La entrevista es a través de un audio en la página del Museo del Museo Tamayo.

 

¿Cómo transformar una falsificación en un original?

Entrevista al artista Gabriel de la Mora por la curadora Pamela Desjardins, sobre su proyecto Originalmentefalso.

La práctica de Gabriel de la Mora (Ciudad de México, 1968) explora la transformación de la materia. En sus series el artista revisita estrategias presentes en la historia del arte tales como el ready-made, el object trouvé o la apropiación, donde pone en marcha meticulosas metodologías a través de la recolección, clasificación, catalogación y manipulación de diversos materiales cotidianos, muchos de ellos considerados desechos.

Originalmentefalso es una serie que Gabriel de la Mora ha desarrollado por casi una década, donde adquiere e interviene falsificaciones de numerosos artistas, en su mayoría mexicanos. Las piezas falsas son transformadas por medio de procesos mecánicos y químicos en un nuevo objeto, al mismo tiempo que obtienen una nueva autoría. En esta entrevista, Pamela Desjardins platica con Gabriel de la Mora acerca de los iniocios de Originalmentefalso, de la pieza MG / GM, 2018 en la colección del Tamayo y de su reciente exposición en el MUNAL, dedicada a esta misma serie.

*Todas las imágenes son cortesía del artista y PROYECTOSMONCLOVA.

_ _ _ _ _ _ _

NOTE: The interview is through audio on the page of the Museo del Museo Tamayo.

 

How to transform a fake into an original?

Interview with the artist Gabriel de la Mora by the curator Pamela Desjardins, about his project Originallyfake.

Gabriel de la Mora’s practice (Mexico City, 1968) explores the transformation of matter. In his series, the artist revisits strategies present in art history such as the ready-made, the object trouvé, or appropriation, where he uses meticulous methodologies through the collection, classification, cataloging, and manipulation of various everyday materials, many of them considered waste.

Originallyfake it is a series that Gabriel de la Mora has developed for almost a decade, where he acquires and intervenes forgeries of numerous artists, mostly Mexicans. The false pieces are transformed by means of mechanical and chemical processes into a new object, at the same time that they obtain new authorship. In this interview, Pamela Desjardins talks with Gabriel de la Mora about the beginnings of Originallyfake, the piece MG / GM, 2018 in the Tamayo collection, and his recent exhibition at MUNAL, dedicated to this same series.

* All images are courtesy of the artist and PROYECTOSMONCLOVA.

 

Vista de la exposición de la Colección Museo Tamayo / Installation view from the exhibition Museo Tamayo Collection / M.G / G.M, 2018, Textil, 181  x 61.5 cm – 71.25 x 24.21 inches. Serie: Originalmentefalso / Originallyfake series, Colección Museo Tamayo / Tamayo Museum Collection.

 

www.museotamayo.org

www.gabrieldelamora.com

www.proyectosmonclova.com