Archivos para las entradas con etiqueta: Martín Soto Climent

 

Gabriel de la Mora

Julius Heinemann

Martín Soto Climent

Michael Sailstorfer

 

@ Proyectos Monclova booth 54 Code Art Fair

31 de agosto al 3 de septiembre 2017 / August 31 – September 3, 2017.

Dinamarca / Denmark.

 

http://www.codeartfair.dk/

www.proyectosmonclova.com

 

 

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CI 108 I detalle

CI / 108 I, 2017, Cubreobjetos de cristal para microscopio sobre cartulina / Microscope coverslips on cardboard, 51.7 x 41.7 x 6 cm / 20.35 x 16.41 x 2.36 inches, Serie: Cristales de Inevidencia / Crystals of Inevidence series.

 

Gabriel de la Mora

Julius Heinemann

Martín Soto Climent

Michael Sailstorfer

 

@ Proyectos Monclova booth 54 Code Art Fair

31 de agosto al 3 de septiembre 2017 / August 31 – September 3, 2017.

Dinamarca / Denmark.

 

http://www.codeartfair.dk/

www.proyectosmonclova.com

 

Otras piezas de Gabriel en el booth 54 / Other Gabriel works at booth 54:

 

 

www.gabrieldelamora.com

 

 

 

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B-8 izq. / 8 der. I, 2016, Tela removida de bocina de estereo / Removed vintage stereo speaker’s fabric, 280 x 315 x 4.5 cm / 110.2 x 124.01 x 1.7 inches

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.

Sound Inscriptions on Fabric

2013 – ONGOING

Through his interest in painting as a phenomenon, Gabriel de la Mora’s looks towards the idea of a self-generated painting, happening in different contexts and through different materials. Much of de la Mora’s 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 fabric’s 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 — 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.

Eduardo Terrazas, 1.1.264, from the series “Possibilities of a Structure”, subseries “Cosmos”, 2016.

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Timothy Taylor

Art Fair

The Armory Show

Stand 508

Joint presentation with Proyectos Monclova, Mexico City.

2-5 March 2017

Gabriel de la Mora

Eduardo Terrazas

Timothy Taylor

Shezad Dawood

Volker Hüller

Proyectos Monclova

Julius Heinemann

Martin Soto Climent

www.timothytaylor.com

http://proyectosmonclova.com

http://gabrieldelamora.com

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7.02 – 18.03.2017

www.proyectosmonclova.com

www.gabrieldelamora.com

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Martín Soto Climent, Adrien Missika & Gabriel de la Mora @ Proyectos Monclova booth / Paris Internationale 2016.

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IMPOSSIBLE, 2015, Carved obsidian / Talla de obsidiana,  14 x 110 cm aprox.

Obsidian series, 2013 – ongoing

Obsidian or volcanic crystal has historically diverse functions and attributes. From the Stone Age to the founding cultures of Mesoamerica, it was one of the most highly valued raw materials. In his series Obsidian, de la Mora unpacks both the material’s cultural significance as well as its compelling material qualities (like glass, it is both tough and fragile). In the work, de la Mora draws connection between the material and cultural significance of obsidian and the neon signs prevalent across the United States in the 1960s and 70s. During this time, neons were associated with a new urban culture, to the changing landscape of the city and to the advancing economy. Following Conceptual Art’s lead, this series features words, phrases, numbers, and sculptures carved in obsidian. The failed attempts to create these works are also featured within the series.
Neon tube lighting is essentially electrical energy transformed into white light. As for obsidian, while it is being carved it is transformed from an opaque mass into a and sleek and reflective material; its surface becomes a dark mirror, a monochrome. Through the process, the obsidian’s significant metaphysical properties are revealed, namely, its ability to transform negative into positive energy. Furthermore, thematically, the series interest revolves around impossibility: attempts to replicate in obsidian the thin glass tubes used for neon signs lead to the material immediately shattering. Yet, de la Mora tries to do so, keeping and displaying as part of the series his attempts, documenting his almost sisyphean task. Thus, the series is a recipient, via negativa, of persistence and of the quest for perfection, both marked traits of the artist’s practice.
Lastly, these works produce a transmutation of the cultural understanding of a material. An eminently prehispanic and ancestral material, to which spiritual connotations are usually assigned, obsidian is now recontextualised as signifier of mass industry; that which relies on gridded electrical, rather than metaphysical power.

Serie: Obsidiana, 2013 – presente

La obsidiana o cristal volcánico es un material que históricamente ha tenido diversas funciones y atributos, desde la edad de piedra hasta el Antiguo Egipto y en Mesoamérica. En este contexto, en el México Prehispánico, la obsidiana fue una de las materias primas más importantes para las culturas asentadas en el territorio.
Fascinado por las propiedades del material, así como por su fragilidad y dureza simultánea, Gabriel de la Mora ha realizado una serie cuya inspiración directa yace en los letreros en luz neón elaborados en los años 60 y 70 en Estados Unidos que se asociaban con el panorama urbano y la publicidad. A la usanza del arte conceptual estadounidense, la serie Obsidiana presenta palabras, frases, números y esculturas de objetos talladas en este material al igual que tallas fallidas de las mismas.
En el caso del neón, la energía eléctrica se transforma en luz blanca; al ser tallada la obsidiana se transforma de una masa opaca a un material delgado y de un brillo reflejante cual si fuera un espejo, esto es, un monocromo. La energía en las piezas de obsidiana está presente de una forma distinta, ya que una de varias propiedades de este material es la transformación de la energía negativa en positiva. Asimismo, la serie se interesa, a nivel temático, por la imposibilidad: tallar en obsidiana palabras o frases a semejanza de los tubos de neón es una tarea imposible para una máquina –el material se fracturaría de inmediato– y es casi imposible para un humano lograr una pieza final. Por ende, los errores quedan como piezas fallidas a piso y, comenzando con un bloque nuevo, el proceso se emprende de nueva cuenta, una y otra vez, hasta que la pieza ejecute la idea. Dentro de la serie habita por lo tanto, en negativo, la persistencia y el perfeccionamiento de procesos que caracterizan en general a la producción del artista (ya sea delegada a artesanos, como es en este caso, o de mano propia).
Por último, las piezas evocan una suerte de mutación del imaginario: la obsidiana, un material eminentemente prehispánico y ancestral, con connotaciones espirituales, recuerda a las piezas fabricadas en un material industrial, económico y que únicamente resplandece gracias a la electricidad. Igualmente, los cuadrados y demás objetos evocan la estética modernista pero reflejan a la vez a quien observa la obra.

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1,693, 2013, 1,693 Fragments of eggshell on cardboard / fragmentos de cascarón de huevo sobre cartón, 6 x 10.5 x 7 cm

CaCO3 Series, 2013 – ongoing

The compulsion to reach a ‘zero degree’ of painting has led Gabriel de la Mora to explore the medium outside of itself, that is, to explore the idea of painting with no paint. This urge, a feature central to his recent production, is made patent with poignant sharpness in series such as CaCO3, made from eggshells. A surface, prepared with the same care as a canvas, is covered with minuscule fragments of eggshells (catalogued based on their color). The eggshells are broken into tiny pieces, counted one by one, and then placed on a wooden surface in such a way that no blank spaces are left and avoiding any possible overlapping. The control executed during this process is absolute; the amount of time it takes to cover the full surface is taken as well as the exact number of fragments that are used for that purpose; the resulting statistics inform the title of each work. A maximum minimalism is achieved by each piece – paintings that reveal their intricate character only when observed up close.

CaCO3, 2013 – presente

La compulsión por llegar a un grado cero de la pintura ha llevado a Gabriel de la Mora a explorar el propio medio fuera de sí mismo, es decir, a explorar la idea de pintura sin pintura. Tal pulsión, crucial dentro de su producción, se hace presente con particular agudeza en series como la realizada con cascarones de huevo. La totalidad de la superficie, preparada con el mismo cuidado que una tela que desaparecerá lentamente al ser impregnada con óleo, queda cubierta con piezas minúsculas de este material. Los cascarones, previamente seleccionados y catalogados con base en su color, se rompen, se cuentan y son colocados sobre la superficie de manera que no quede espacio vacío alguno y evitando a toda costa que se empalmen los pequeñísimos fragmentos. El control durante el proceso es absoluto: se lleva cuenta del tiempo que toma cubrir la totalidad de la superficie e igualmente se cuenta cuántos pedazos caben dentro de ella; tal información da título a cada pieza. El resultado genera entonces un minimalismo máximo, una pintura que sólo al ser observada de cerca revela su evidente carácter barroco.

http://parisinternationale.com

http://proyectosmonclova.com

www.gabrieldelamora.com

 

Vistas del booth de Proyectos Monclova en Paris Internationale 2016 / Views from Proyectos Monclova booth at Paris Internationale 2016.

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http://parisinternationale.com

http://proyectosmonclova.com

www.gabrieldelamora.com

FRANCESCA MININI

VIA MASSIMIANO 25

20134 MILANO

T 02 26924671

F 02 21596402

INFO@FRANCESCAMININI.IT

WWW.FRANCESCAMININI.IT

http://www.francescaminini.it/exhibition

 

Artists:

José Dávila

Gabriel de la Mora

Jorge Pedro Núnez

Amalia Pica

Wilfredo Prieto

Thiago Riocha Pitta

Martin Soto Climent

Antonio Vega Macotela

OPINIONE LATINA |1

Opening Wednesday 30 January, 7 pm

Until 30 March 2013

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.