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Pierre Huyghe: The Artist as Director Ocula Conversation Pierre Huyghe: The Artist as Director

Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern 29 Nov 2019 : Mohammad Salemy for Ocula

In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Gabriel de la Mora

b. 1968, Mexico

Gabriel de la Mora collects photographs, tools, residue materials, found documents, hair, and old papers, among other unclassifiable objects that persist between the fantastic, the macabre and the repulsive. In his studio – a mix between a cabinet of curiosities and a forensics lab – a cross between this accumulation and his vital instinct takes place, a drive that submits the past to the hermeneutic scrutiny of the present. Through rigorous formal procedures and the conceptual methodologies of contemporary art, de la Mora alchemically reinscribes these residues, in which the past survives, into a systematic modus operandi that recalls the attention to detail of a detective's or a criminologist's examination of fingerprints.

Having trained as an architect and subsequently studying his Master's degree of Fine Arts in Painting at the Pratt Institute in New York, Gabriel de la Mora's work lies in questioning and experimenting within the interstitial limits
between painting, drawing and sculpture. In his hands, these primal media of symbolic experience become records prone to formalist abstraction, as well as autobiographical indices. Linking constructivist languages with fortuitous discoveries, evocative of the Dadaist experience, De la Mora updates the minimalist/conceptual optic in order to reveal the intimate and personal within the universal convention of modernist abstraction.

More than a painter, sculptor or draftsman, de la Mora is an artist who works with ideas, possibilities and concepts. In that sense, the metaphysical category of time becomes a fundamental factor in each of his works. For him, a work of art attempts to outlive the person who creates it. It aspires toward eternity, since life's desires are clear evidence of an inexorable death drive. There exists a main goal as an artist and this has to do with the search for equilibrium between the conceptual and the formal in order to signify the universal. From the surge of an idea until its execution in monochromatic surfaces, lines, volumes, documents and records of his processes, the materials and ideas intermingle, giving rise not only to works of art but also to an archive in which the artist obsessively safeguards the passage of time. Gabriel de la Mora's work is a constellation of indices for the creation of a metaphysical totality. In this totality, the occult, the mysterious, the elusive – that is, those experiences that are prone to estrangement – are presented to us as the familiar.

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Featured Artworks

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CI / 24 I P.o. by Gabriel de la Mora contemporary artwork
Gabriel de la MoraCI / 24 I P.o., 2015 Microscope slides
30 x 25.7 x 6 cm
Timothy Taylor
96,937 (58,746 + 38,191) by Gabriel de la Mora contemporary artwork
Gabriel de la Mora96,937 (58,746 + 38,191), 2016 Diptych of white and emu eggshell fragments on wood
75 x 150 x 4 cm
Timothy Taylor
576 - I / Pi by Gabriel de la Mora contemporary artwork
Gabriel de la Mora576 - I / Pi, 2016 288 used pairs of leather shoe soles on wood (diptych)
180 x 240 x 6 cm
Timothy Taylor
PAI / 3072-I f by Gabriel de la Mora contemporary artwork
Gabriel de la MoraPAI / 3072-I f, 2015 Discarded aluminium plate from offset printing press, mounted on wood
180 x 120 x 6 cm
Timothy Taylor
T-29 i / 29 d by Gabriel de la Mora contemporary artwork
Gabriel de la MoraT-29 i / 29 d, 2016 29 pairs of discarded vintage stereo speaker cases
280 x 330 cm
Timothy Taylor
PAI / 1728-I f by Gabriel de la Mora contemporary artwork
Gabriel de la MoraPAI / 1728-I f, 2015 Discarded aluminium plate from offset printing press, mounted on wood
180 x 120 x 6 cm
Timothy Taylor
MCI / 6-II f e by Gabriel de la Mora contemporary artwork
Gabriel de la MoraMCI / 6-II f e, 2015 Discarded rubber blanket from offset printing press, mounted on wood
120 x 90 x 4 cm
Timothy Taylor
147,000 by Gabriel de la Mora contemporary artwork
Gabriel de la Mora147,000, 2014 5,880 used sides of 2,490 match boxes from 147,000 burnt matches on cardboard
161 x 200 x 6 cm
Timothy Taylor

Current & Recent Exhibitions

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Contemporary art exhibition, Gabriel de la Mora, ÉCHO at Perrotin, Paris
Open Now
12 October–21 December 2019 Gabriel de la Mora ÉCHO Perrotin, Paris
Contemporary art exhibition, Gabriel de la Mora, TNTR AA at Perrotin, New York
Closed
2 March–13 April 2019 Gabriel de la Mora TNTR AA Perrotin, New York
Contemporary art exhibition, Group Exhibition, A New Way of Walking at Timothy Taylor, New York
Closed
29 June–27 July 2018 Group Exhibition A New Way of Walking Timothy Taylor, New York

Represented By

In Related Press

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IN AND AROUND THE FAIR: A REPORT FROM MEXICO CITY'S ZONA MACO Related Press IN AND AROUND THE FAIR: A REPORT FROM MEXICO CITY'S ZONA MACO ARTNews : 14 February 2017

Last Saturday, for Zona Maco, Mexico City’s premier contemporary art fair, artist Andrew Birk led a walk from the historical center of the city to Anonymous gallery’s booth, which presented a group show featuring FlucT, Peter Sutherland, and Brendan Lynch. Participants in the 10-kilometer walk received free admission to the fair and, after three...

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The abstract patterns of sound on dusty speaker covers Related Press The abstract patterns of sound on dusty speaker covers Hyperallergic : 26 August 2016

There are no drawings on the walls for the Drawing Center’s current exhibition — at least, none you may define in the conventional sense of the medium. On view are speaker cloths, the woven fabric through which sound passes but not dust, which remains trapped between the material, accumulating over time to create faint shapes and...

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Seeing sound: Gabriel de la Mora visually records decades of music at The Drawing Center Related Press Seeing sound: Gabriel de la Mora visually records decades of music at The Drawing Center Wallpaper* : 28 July 2016

Synesthetes claim the ability to associate numbers, sounds or colours across sensory pathways – and artists from Wassily Kandinsky to Iannis Xenakis have sought visual inspiration in music – but most of us would regard the idea of literally seeing sound as, in reality, impossible. In his current exhibition at The Drawing Center,...

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Found art: Gabriel de la Mora's first solo show at London's Timothy Taylor Gallery Related Press Found art: Gabriel de la Mora's first solo show at London's Timothy Taylor Gallery Wallpaper : 23 March 2016

For his first solo show in Europe, artist Gabriel de la Mora scoured the printing presses and flea markets of his native Mexico City. He then transformed his ‘finds’ into 11 works that go on show at today at London’s Timothy Taylor Gallery.From a distance, they look like abstract painted canvases but closer inspection reveals...

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