Archivos para las entradas con etiqueta: arte contemporáneo

La Licenciatura en Arte Y Creación, ITESO, Universidad Jesuita de Guadalajara. Invita a la charla Dibujo y arte contemporáneo, procesos creativos en Gabriel de la Mora, impartida por Gabriel de la Mora.

Jueves 24 de septiembre, 2020
18:00 hrs
Plataformas: zoom
Inscripción antes de la sesión:

flyer bco negro campeche

Museo Victoriano Niévez Céspedes

Calle 22 s/n
CP 24100
Ciudad del Carmen, Carmen, Campeche
Tels.: (938) 384 24 14 , 044 938 132 80 52 cel.

Este taller es parte del programa de Retribución Social del Sistema Nacional de Creadores 2013-2015

Esta abierto a estudiantes de arte, artistas y público en general.


Portada: Gabriel de la Mora (México 1968) – Marcial Sánchez, septiembre 15 de 1897, 2012, Fotografía intervenida del siglo 19, 16.5 x 10.8 cm, Colección Fundación Televisa.

El libro nos propone un fascinante recorrido visual, recurriendo a uno de los temas preponderantes en el mundo de la fotografía: el retrato,  y realiza una indagación sobre las facetas de la máscara y su metamorfosis.
Además de advertir la enorme riqueza fotográfica que se ha producido en México, esta extraordinaria obra propicia un encuentro entre autores de varias generaciones que da especial cabida a los lenguajes contemporáneos.

Ficha técnica

Fecha de publicación: 14/12/2012
392 páginas
Idioma: Español
ISBN: 978-84-9785-924-0
Código: 10011195
Formato: 29 x 33 cm.
Presentación: Tapa dura con sobrecubierta
Colección: General







The first stop of a journey through Latin America, OPINIONE LATINA gives voice to an aesthetic dimension so lively and energetic that it defies classification in any single style, embracing and reinterpreting the most contemporary currents in visual research.

The coexistence of such diverse expressions brings to life a cultural panorama full of variety, rich incontradictions and stimuli that reflect the economic and political complexity of these countries. Social urgency, a sense of disorientation and nostalgia, revisiting the past, and bonds with nature are some of the themes explored by the artists whose work is on display.


José Dávila, 1974 Mexico. Dávila’s work is part of the declared reinterpretation of modernist and minimalist models. Homage to the Square is a critical tribute to the work of Josef Albers, which is strengthened and amplified by the Mexican artist. Through a conscious and analytic appropriation Dávila broadens the scope of his predecessor by superimposing a series of square glasses over the monochrome paintings, to create an echo of colors of various tonalities made by the light which filtres through.


Gabriel de la Mora, 1968 Mexico. A strong temporal dimension pervades the work of De la Mora, a meticulous and passionate researcher of plafonds and ceiling decorations of Mexican buildings of the late 19th century, painstakingly reassembled of aluminium and thus bringing to life an artistic expression that hovers between painting, design and sculpture, bestowing a new eternity to these remains so full of memories of stories from the past.


Jorge Pedro Núñez, 1976 Venezuela. Word play and artistic references, a dip into Neoconcretism through a special revisitation: Lygia Clark and Lucio Fontana are the two points of reference for the work Untitled (Fontana) that Núñez uses to reinvent the concept of space in art through the creation of new forms.


Amalia Pica, 1978 Argentina. Nostalgia and humor permeate the 35mm slideshow Islands by the London-based Argentine artist. The work plays with the symbols that Europeans often associate with the idea of America Latina and is full of melancholy for a world that is far away. A boy draws an island with a palm on an expanse of snow. The bucket becomes his coconut. Pica works with sculptures, drawings, and projections which often suggest the lack of standardized systems of communication.


Wilfredo Prieto, 1978 Cuba. Three small works that are so dense they evoke worlds of oppression and violations (Apartheid), of political hegemonies and repressions (Pinochet), and of modern globalizad societies (Coca-Cola). Prieto’s jigsaw pieces implode in their expressive and evocative force. The Cuban artist, who is fully capable of grand monumental works, conserves and amplifies his creative energy in a small and precious puzzle pattern that rises to the level of an icon of social, political and economic criticism.


Thiago Rocha Pitta, 1980 Brazil. Movement, transformation, and harmony with nature are the

sensations evoked by the Brazilian artist. Two instants of a drop of honey running over a rocky terrain, the amber color, the glittering reflection of the sun, transmit a sense of wonder that makes us feel part of a natural process in progress. Rocha Pitta’s work evokes a sense of impermanence that the infallible power – for us still thick with uncertainties – of nature exercises unceasingly, thus becoming a co-author along with the artist.


Martin Soto Climent, 1977 Mexico. With a simple creative gesture Soto Climent inaugurates a new vocabulary of signs: in his work everyday household objects are invested with an unexpected aesthetic strength. Tension between movement and space, the forces of separation and attraction, masculine and feminine elements are contrasting energies that dialogue in his works, seen not as elements in opposition but rather as two complementary parts that define themselves against each other.


Antonio Vega Macotela, 1980 Mexico. The impenetrable communication code used by Mexican drug traffickers becomes an installation with an almost sacred aura, a hymn of reverence and fear. Murmurs, whispers from that the pages of El Sol de Mexico. An imprisoned drug dealer taught the artist the anamorphic code used to communicate with the outside world. Only by approaching the wall on one’s knees do the messages reveal themselves, forcing the viewer into a position that recalls praying or the prelude to a cruel execution, thus rendering us accomplices or condemned.





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. A primera vista, el pelo aparece transfigurado como un dibujo delicado y aséptico; al aguzarla mirada, las líneas se descubren como cabellos de donantes vivos, incluso de cadáveres exhumados. A través de su prosa vibrante, Rodríguez Blanco conduce al lector desde el concepto de alegoría de Walter Benjamín a la categoría de lo Real de Jacques Lacan, de la abyección de Julia Kristeva al sex-appeal de lo inorgánico de Mario Perniola.

Autor: Sergio Rodríguez Blanco

Editorial: TRILCE

ISBN: 9786077663256

160 páginas

Año: 2011

Formato / Peso: 17.3 x 23.3 x 1.6 cm / 530 gramos