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: mrosales@iteso.mx
Gabriel de la Mora, B-189, 2015, Tela removida de bocina de estereo / Removed vintage stereo speaker’s fabric, 62.5 x 50.4 x 4.5 cm / 24.61 x 19.84 x 1.77 inches, Serie Inscripciones Sonoras sobre Tela / Sound Inscriptions on Fabric Series.
SERIE
Inscripciones sonoras sobre tela
2013 – PRESENTE
El interés de Gabriel de la Mora por lo pictórico como fenómeno trasciende el propio medio y busca constantemente la producción de la pintura en distintos contextos y valiéndose de diferentes materiales. Si bien buena parte de su obra se ocupa por crear pintura desde fuera de la pintura –utilizando materiales y procedimientos ajenos al género–, series como Inscripciones sonoras sobre tela son en realidad ejercicios de observación a través de los cuales la pintura y el dibujo son encontrados.
Un dedicado coleccionista de antigüedades, De la Mora adquirió un vasto número de radios y estéreos del siglo xx y observó cómo en las telas de las bocinas van quedando rastros, siluetas que se dibujan gracias las vibraciones del sonido que propician la entrada y salida del polvo entre las hebras de las telas, a la luz que las decolora y al propio tiempo que envejece y daña las partes que se encuentran expuestas. Las tapas de madera que enmarcan a estas telas generan patrones a partir de su diseño; dibujos geométricos, abstracciones y monocromos se vuelven registros visuales e históricos de la música, los programas radiofónicos, comerciales, noticias, radionovelas, el sonido y el silencio que se concentró en el entramado expuesto de las telas. Las inscripciones se descubren entonces como gráficas sonoras.
Sin intentar postularse como un documento histórico, esta serie da cuenta de la evolución tecnológica del medio radiofónico: la duplicidad de ciertas piezas da cuenta del paso del sonido monoaural a uno estereofónico (de dos canales) que generan dos imágenes en espejo, idénticas a primera vista, pero que contienen detalles que las hacen únicas.
_ _ _ _ _ _ _
SERIE
Sound Inscriptions on Fabric
2013 – ONGOING
Through his interest in painting as a phenomenon, Gabriel de la Moraís looks towards the idea of a self-generated painting, happening in different contexts and through different materials. Much of de la Moraís work deals with painting outside of the genre itself, using uncharacteristic materials and methods. His series Sound inscriptions on fabric for example are actually exercises in observation through which painting and drawing are found rather than produced.
A committed antiques collector, de la Mora has acquired a vast number of radios and sound stereos from the early 20th century. In them, the artist observed how the fabric of the speakers becomes polluted by traces of dust, and silhouettes that are inscribed onto it as a result of the sound vibration. Dust flows in and out amongst the fabricís threads, and as light discolors the exposed tissues, the fabric produces a record of time as it passes. The wooden cases that serve as their shells create patterns based on their own design ó geometric, abstract and monochrome, they trace of the history of music, radio shows, advertisements, news, radio soaps, sounds, and silences that were concentrated in the exterior grid of the fabric.
With no attempt in postulating itself as a historical document, this series accounts to the technological evolution of the radiophonic medium. The duplicity of certain works hints to the transition from mono to stereo, or dual channel sound, and also produces mirrored images, identical at first sight, but nevertheless unique.
Gabriel de la Mora, B-189, 2015, Tela removida de bocina de estereo / Removed vintage stereo speaker’s fabric, 62.5 x 50.4 x 4.5 cm / 24.61 x 19.84 x 1.77 inches, Serie Inscripciones Sonoras sobre Tela / Sound Inscriptions on Fabric Series.
SERIE
Inscripciones sonoras sobre tela
2013 – PRESENTE
El interés de Gabriel de la Mora por lo pictórico como fenómeno trasciende el propio medio y busca constantemente la producción de la pintura en distintos contextos y valiéndose de diferentes materiales. Si bien buena parte de su obra se ocupa por crear pintura desde fuera de la pintura –utilizando materiales y procedimientos ajenos al género–, series como Inscripciones sonoras sobre tela son en realidad ejercicios de observación a través de los cuales la pintura y el dibujo son encontrados.
Un dedicado coleccionista de antigüedades, De la Mora adquirió un vasto número de radios y estéreos del siglo xx y observó cómo en las telas de las bocinas van quedando rastros, siluetas que se dibujan gracias las vibraciones del sonido que propician la entrada y salida del polvo entre las hebras de las telas, a la luz que las decolora y al propio tiempo que envejece y daña las partes que se encuentran expuestas. Las tapas de madera que enmarcan a estas telas generan patrones a partir de su diseño; dibujos geométricos, abstracciones y monocromos se vuelven registros visuales e históricos de la música, los programas radiofónicos, comerciales, noticias, radionovelas, el sonido y el silencio que se concentró en el entramado expuesto de las telas. Las inscripciones se descubren entonces como gráficas sonoras.
Sin intentar postularse como un documento histórico, esta serie da cuenta de la evolución tecnológica del medio radiofónico: la duplicidad de ciertas piezas da cuenta del paso del sonido monoaural a uno estereofónico (de dos canales) que generan dos imágenes en espejo, idénticas a primera vista, pero que contienen detalles que las hacen únicas.
_ _ _ _ _ _ _
SERIE
Sound Inscriptions on Fabric
2013 – ONGOING
Through his interest in painting as a phenomenon, Gabriel de la Moraís looks towards the idea of a self-generated painting, happening in different contexts and through different materials. Much of de la Moraís work deals with painting outside of the genre itself, using uncharacteristic materials and methods. His series Sound inscriptions on fabric for example are actually exercises in observation through which painting and drawing are found rather than produced.
A committed antiques collector, de la Mora has acquired a vast number of radios and sound stereos from the early 20th century. In them, the artist observed how the fabric of the speakers becomes polluted by traces of dust, and silhouettes that are inscribed onto it as a result of the sound vibration. Dust flows in and out amongst the fabricís threads, and as light discolors the exposed tissues, the fabric produces a record of time as it passes. The wooden cases that serve as their shells create patterns based on their own design ó geometric, abstract and monochrome, they trace of the history of music, radio shows, advertisements, news, radio soaps, sounds, and silences that were concentrated in the exterior grid of the fabric.
With no attempt in postulating itself as a historical document, this series accounts to the technological evolution of the radiophonic medium. The duplicity of certain works hints to the transition from mono to stereo, or dual channel sound, and also produces mirrored images, identical at first sight, but nevertheless unique.
El sábado 9 de noviembre de 2013, visité la Casa Estudio del arquitecto Luis Barragán en la Ciudad de México, junto con Willy Kautz y Amy Sandback.
Ya había visitado ese lugar muchas veces anteriormente, sin embargo, ese día me llamó la atención la caja acústica de la bocina del estéreo de la biblioteca, ya que tenía manchas como si fuera un cráneo geométrico.
Al día siguiente, fui al mercado de pulgas de la Lagunilla y vi un estéreo de los años 70´s con las dos bocinas marcadas, lo compré y prácticamente este fue el inicio de la serie: Inscripciones Sonoras sobre Tela 2013 – presente.
El sonido emitido por una televisión, radio o estéreo vintage, hace que el polvo del lugar entre y salga de la caja acústica y poco a poco después de 20, 50 años o más, van marcando la silueta de las bocinas en la tela, esto genera un dibujo hecho sin ninguna intervención humana, tan sólo por el sonido, tiempo y luz.
Una imagen que surge del monocromo de una tela que documenta la información de miles de noticias, canciones, comerciales, radionovelas, entre muchas cosas más a través del tiempo.
Es interesante ver como una tarea que hice en 1972 aprendiendo a escribir cuando tenía 4 años, era repetir la letra “m”, lo que hice con mucho trabajo ya que al terminar decido dar vuelta a la hoja y repetir la tarea ahora como en realidad escribía: al revés, que tiene todo el sentido al ser zurdo y disléxico.
Frente y Reverso, Izquierda y Derecha es lo mismo que la pieza B-55 izq. / B – 55 der. Presentando en espejo 110 piezas que corresponden a 55 telas de bocinas marcadas que corresponden al lado izquierdo y 55 telas de bocinas marcadas que corresponden al lado derecho.
La repetición no existe ya que siempre habrá diferencias.
_ _ _ _ _ _ _
On Saturday, November 9, 2013, I visited the Casa Estudio of the architect Luis Barragán in Mexico City, together with Willy Kautz and Amy Sandback.
I had already visited that place many times before, however, that day I was struck by the speaker’s stereo acoustic box since it had spots like a geometric skull.
The next day, I went to the Lagunilla flea market and saw a stereo from the ’70s with both speakers marked, I bought it and practice this was the beginning of the series: Sound Inscriptions on Fabric 2013 – present.
The sound emitted by television, radio or vintage stereo, makes the dust of the place enter and leave the speaker and little by little after 20, 50 years or more, they mark the silhouette of the speakers on the fabric, this generates a drawing made without any human intervention, just by sound, time and light.
An image that emerges from the monochrome of the fabric documents information from thousands of news, songs, commercials, radio soap operas, among many other things over time.
B-34, 2015, tela removida de bocinas de radio / Speaker grill cloth removed from radio, 5 x 7.5 cm / marco 27.5 x 30 x 4.5 cm.
Proceso / Process B-34, Serie: Inscripciones Sonoras sobre Tela / Sound Inscriptions of Fabric series.
Director’s Introduction
Gabriel de la Mora
The Readymade Drawing
By Brett Littman
Ever since the first century AD, when Pliny the Elder in his Natural History popularized the myth of the sculptor Butades, whose daughter traced her lover’s shadow on the wall before he left to war, drawing has been linked to the poetics of the artist’s hand and its singular, indexical mark. This origin story of drawing has created a deep interpretative structure wherein the uniqueness of the artist’s line and its ability to convey the artist’s soul and thoughts has become the dominant way to determine a drawings importance. Up until the early twentieth-century, this system worked pretty well—as what was classified as drawings were marks on paper made by the artist.
What happens, however, when the artist’s hand is removed from the act of drawing? Do you still have a drawing? In 2008, João Ribas curated an exhibition of Rirkrit Tiravanija’s Demonstration Drawings at The Drawing Center that directly confronted this issue. To create the Demonstration Drawings, Tiravanija had commissioned young Thai artists to copy photographs of political protests that had appeared in The International Herald Tribune between 2006 and 2007. All of the drawings made by these artists are unsigned, anonymous, and made specifically to exist as part of Tiravanija’s open-ended serial drawing archive.
For Ribas, the Demonstration Drawings effectively demoted the status of the artist’s hand in drawing to a secondary concern. He wrote, “The phenomenology of ‘the hand’ that so determines the art historical framing of the medium of drawing—in its supposed intimacy or fidelity to thought or intention—is entirely sidelined. Rather, the evocative power of the drawings comes from their ability to turn an ephemeral image of strife or social conflict into a document of political aspiration. Tiravanija’s mediation is to take a photojournalistic depiction of an act of political spontaneity and translate it into a medium defined itself by immediacy, both psychological and material.”[1]
The Demonstration Drawings exhibition was one of the most controversial shows we have ever done. To our general audience it was a heretical act to show drawings attributed to an artist who didn’t make them himself. Of course, it seems a bit conservative to me to argue that art not directly made by an artist is not art at all. The twentieth and twenty-first centuries are filled with examples of challenges to authorship, such as readymades, appropriated images, copies, and simulacra. In the case of the Demonstration Drawings, I would argue that in many ways it was a perfectly traditional drawing show. The exhibition comprised works on paper made by artists who worked in noticeably different drawing styles and was about markmaking—just not graphics made by Tiravanija.
Gabriel de la Mora’s current installation for The Drawing Center, Sound Inscriptions on Fabric (2015), moves this problematic one step further. For this series, De la Mora has taken old radio and speaker grills that he purchased at flea markets in Mexico City and presents them as his drawing practice. These are purely readymade drawings that are not manipulated by De la Mora’s hand. The form and density of the shaped images that have impregnated the fabric depend on time and the physical structure of each specific speaker. Each of the “inscriptions” document a moment in history, since the patterns were made over years by the sounds of millions of voices, instruments, and even silence passing through the fabric. Can we legitimately call these drawings?
For me (and by extension for The Drawing Center), these are definitely drawings. I have been interested in how drawing can represent the invisible (sound, light, time, energy), and I have been exploring drawing’s relationship to sound through graphic scores and also through performance. These works operate as drawings because they visualize time and information through inscription. In addition, Sound Inscriptions on Fabric expands De la Mora’s interest in recuperating discarded or quotidian objects as the basis for his art. He has gathered extensive collections of materials during his travels around his home town, Mexico City, including shoe soles, aluminum plates for offset printing, doors, erased daguerreotypes, semi-destroyed and compromised paintings, books, badly minted coins, as well as radios, record players, phonographs, and consoles. He classifies all of the artifacts he collects, placing them in his archive so as later to determine which specific items can be designated for projects. I view this archiving function as a metaphor for drawing—one often used by artists to document exploded views and multiple perspectives of one object.
There are many people that I would like to thank for making this exhibition possible. First of all, I would like to acknowledge my colleague Bill Arning, Director of Contemporary Arts Museum, Houston, who introduced me to Gabriel de la Mora and to this body of work in Mexico City in January 2014. I would also like to recognize the collectors, Jack and Anne Moroniere, who have been championing and collecting Gabriel’s work for many years for their support. I am very grateful for the generosity of Sofia Anaya and Rogelio Lopez, Jose Garcia Ocejo, Sicardi Gallery, Houston, and the Mexican Agency for International Development Cooperation (AMEXCID) with the Mexican Cultural Institute of New York—without you we could have not have mounted this ambitious installation. Special thanks also to Timothy Taylor, London, and Proyectos Monclova, Mexico City, for all of their help.
I would especially like to thank Jace Clayton for his beautiful and evocative text for the catalogue entitled “Radio Remains.” Its mix of the social history of Mexican radio and personal insights makes for a unique and thoughtful rumination on De la Mora’s work. From The Drawing Center, I would like to thank Amber Moyles, our Curatorial Assistant; Olga Valle Tetkowski, our Exhibition Manager; Noah Chasin, our Editor; Joanna Ahlberg, our Managing Editor; Peter Ahlberg, AHL&CO; and Alice Stryker, our former Development Director, for all of their help.
Lastly, I would like to thank Gabriel de la Mora and his studio assistants. Their enthusiasm, energy, and highly organized working style has made this a seamless process. Gabriel has been involved in this exhibition every step of the way and I am very grateful for his intelligence, communication, friendship, and willingness to allow us to show this series at The Drawing Center.
[1] João Ribas, “What Would It Mean To Win? Rirkrit Tiravanija’s Demonstration Drawings,” in Rirkrit Tiravanija: Demonstration Drawings (New York: The Drawing Center, Drawing Papers 79, 2008), 19.
B 196, 2015
Sådan ser tegningen af musik, reklamer, nyheder, støj og stilhed ud
Aftegninger af højttalersilhouetter udstilles i New York.
Mikkel Vuorela
Journalist
I konventionel forstand kan man hverken kalde det her for en tegning eller for lydkunst. Men på sin helt egen måde er det faktisk begge dele.
Afbildet ovenfor er nemlig to stykker stof, der har været placeret foran højttalere – du ved, de der rammeudspændte klæder, som man bruger til at dække bas og diskant af på sine højttalere nede fra Hi-Fi Klubben.
LÆS OGSÅ Brødmanden fra Japan er landet og har inviteret 50 bedstemødre på frokost
Når musikken så spiller, blæser højttalerne rytmisk gennem stoffet – lyden passerer uhindret, men støv og snavs stoppes tilfældigvis af klædet. Det synes kunstneren Gabriel de Mora åbenbart er ret fedt, for han har indsamlet 110 stykker højttalerstof, indrammet det og udstiller det nu på Drawing Center i New York.
Klæderne stammer fra gamle radioer og højttalere, som kunstneren har samlet op i sin hjemby, Mexico City, de seneste 3 år, skriver hyperallergic.com.
LÆS OGSÅ Anmelderen: Her er tre løgne om kunsten lige nu
»Som tiden går – 10, 20, 30, 40 eller 50 år – efterlader musikken, reklamerne, nyhederne, støjen og stilheden et mærke«, siger kunstneren til hyperallergic.com.
»En lillebitte smule ad gangen aftegner højttalerens silhouet sig på stoffet«.
I udstillingsstedets katalog kalder de det for readymade tegninger. Udstillingen løber indtil på fredag, så er man i New York, er det inden for rækkevidde. Ellers kan du kigge på dine egne gulvhøjttalere, når du lige er i det humør.
http://www.drawingcenter.org/en/drawingcenter/5/exhibitions/6/current/1434/gabriel-de-la-mora/
Rough Google translation in English:
To see the drawing of music, commercials, news, noise and silence out
Markings of højttalersilhouetter exhibited in New York.
Mikkel Vuorela / Journalist
In the conventional sense, one can not call this a drawing or for sound art. But in its own way, it’s actually both.
Pictured above, namely two pieces of fabric that has been placed in front of speakers – you know, those cloths, which is used to cover the bass and treble on his speakers down from the Hi-Fi Club.
When the music they play, blowing speakers rhythmically through the fabric – the sound passes freely but dust and dirt stopped happen to the cloth. It seems the artist Gabriel de Mora apparently is pretty cool, for he has collected 110 pieces speaker fabric, framed it and exhibit it now on the Drawing Center in New York.
Cloths comes from old radios and speakers, which the artist has picked up in his hometown of Mexico City, the last 3 years, writes hyperallergic.com.
«As time goes by – 10, 20, 30, 40 or 50 years – leaving the music, commercials, news, noise and silence a brand,» says the artist to hyperallergic.com.
«A tiny bit at a time delineate speaker silhouette on the substance ‘.
In the exhibition space catalog call it for readymade drawings. The exhibition will run until Friday, then you are in New York, it is within reach. Or have a look at your own floor speakers, when you are just in the mood.
The Wall Street Journal – August 26,2016.
Arts
Art review
Art in Stereo
By Peter Plagens
From Marcel Duchamp’s readymade “Bottle Rack” (1914) to the Japanese artist Chiharu Shiota’s accumulation of suitcases stacked against the wall entitled “Searching for the Destination” (2012), we see that a certain species of artist operates under the principle that around us lie countless unacknowledged works of art. All that’s necessary to bring them to our attention, they believe, is to lift them out of their original contexts and place them in a gallery environment.
With Gabriel de la Mora (b. 1968), an architect who switched to art and earned a master of fine arts degree in photography and video in 2003, some nice picture-framing and—in the case of this exhibition—a masterly installation are also required. Mr. De la Mora, who finds his material in Mexico City thrift shops, has gathered 55 pairs of stereo speaker screens and mounted them, framed.
In a minimalist way, there’s something for everybody in this show: for curator types, a capital-S seriousness of grid configuration of the hanging; for retro fans of the 1970s, lots of beige fabric with gold thread; and for cultural archaeologists, the ghosts of the speakers themselves imprinted on the cloth. Mr. De la Mora has a talent for combining visual elegance with the intimations of social meaning increasingly required of art. Here, the balance works.
Gabriel de la Mora: Sounds Inscriptions on Fabric
The Drawing center
35 Wooster St., (212) 219-2166
Through Sept. 2
Link de la nota por Francisco Brown en Arquine:
http://www.arquine.com/aparente-simetria-y-sutiles-diferencias-gabriel-de-la-mora-en-nueva-york/
Mexican multimedia artist Gabriel de la Mora (Mexico 1968) is best known for constructing visual works from obsolete found objects such as eggshells and discarded shoes. De la Mora describes these objects that have outlived their usefulness as caches for historical information about everyday life.
In his exhibition at The Drawing Center, De la Mora presents an installation of 55 pairs of found speaker screens. Each screen is imprinted with an inscription created by the dust and air that circulated through the speaker screen during its useful life recording the cadence of countless voices, advertisements, news broadcasts, soap operas, football games and music, as well as noise, interference and silence.
This volume accompanies De la Mora’s Drawing Center presentation and features images of the installation and essays on his work.
Paperback: 112 pages
Publisher: The Drawing Center (August 23, 2016)
Texts by: Brett Littmann and Jace Clayton
Language: English
ISBN-10: 0942324978
ISBN-13: 978-0942324976
Shipping Weight: 1.1 pounds
To purchase this book directly to the Drawing Center through Kate Robinson:
Through Amazon:
Gabriel de la Mora 