HUGO CROSTHWAITE
Tijuana Bible Diablo, 2017
acrylic on wall
14h x 12w in
HUGO CROSTHWAITE
Tijuana Bible Angel, 2017
acrylic paint on wall
14h x 12w in
Jose Dávila was born in Guadalajara in 1974. Lives and works in Guadalajara, MX
Jose Dávila's artistic practice is located in the boundaries of the homage, imitation and critique. The artist, formerly trained as an architect, uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. Introducing a particular interest in Western culture, the imagery comprised within the artist's work is based on a deep approach to Architecture and Art History.
In the last years and under these same precepts, Dávila has developed a series of sculptures whose structural work is based on the arrangement and overlapping of material such as boulders, glass and marble, kept in perfect balance with industrial ratchet straps. The articulation of these elements displays a game of resistance between opposite forces, present throughout all his sculptural work. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.
His work has been exhibited in Marfa Contemporary, Marfa, USA, Museo Universitario de Arte Contemporaneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PSl, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundaci6n/ Colecci6n JUMEX, Mexico City; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, among others; and has been featured in international publications such as Cream 3, ed. Phaidon, 100 Latin-American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila has been recipient of support from the Andy Warhol Foundation, a Kunstwerke residency in Berlin and the National Grant by the Mexican Arts Council (FONCA). He is a founder member of Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico.
Jose Dávila was born in Guadalajara in 1974. Lives and works in Guadalajara, MX
Jose Dávila's artistic practice is located in the boundaries of the homage, imitation and critique. The artist, formerly trained as an architect, uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. Introducing a particular interest in Western culture, the imagery comprised within the artist's work is based on a deep approach to Architecture and Art History.
In the last years and under these same precepts, Dávila has developed a series of sculptures whose structural work is based on the arrangement and overlapping of material such as boulders, glass and marble, kept in perfect balance with industrial ratchet straps. The articulation of these elements displays a game of resistance between opposite forces, present throughout all his sculptural work. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.
His work has been exhibited in Marfa Contemporary, Marfa, USA, Museo Universitario de Arte Contemporaneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PSl, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundaci6n/ Colecci6n JUMEX, Mexico City; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, among others; and has been featured in international publications such as Cream 3, ed. Phaidon, 100 Latin-American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila has been recipient of support from the Andy Warhol Foundation, a Kunstwerke residency in Berlin and the National Grant by the Mexican Arts Council (FONCA). He is a founder member of Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico.
Jose Dávila was born in Guadalajara in 1974. Lives and works in Guadalajara, MX
Jose Dávila's artistic practice is located in the boundaries of the homage, imitation and critique. The artist, formerly trained as an architect, uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. Introducing a particular interest in Western culture, the imagery comprised within the artist's work is based on a deep approach to Architecture and Art History.
In the last years and under these same precepts, Dávila has developed a series of sculptures whose structural work is based on the arrangement and overlapping of material such as boulders, glass and marble, kept in perfect balance with industrial ratchet straps. The articulation of these elements displays a game of resistance between opposite forces, present throughout all his sculptural work. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.
His work has been exhibited in Marfa Contemporary, Marfa, USA, Museo Universitario de Arte Contemporaneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PSl, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundaci6n/ Colecci6n JUMEX, Mexico City; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, among others; and has been featured in international publications such as Cream 3, ed. Phaidon, 100 Latin-American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila has been recipient of support from the Andy Warhol Foundation, a Kunstwerke residency in Berlin and the National Grant by the Mexican Arts Council (FONCA). He is a founder member of Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico.
Jose Dávila was born in Guadalajara in 1974. Lives and works in Guadalajara, MX
Jose Dávila's artistic practice is located in the boundaries of the homage, imitation and critique. The artist, formerly trained as an architect, uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. Introducing a particular interest in Western culture, the imagery comprised within the artist's work is based on a deep approach to Architecture and Art History.
In the last years and under these same precepts, Dávila has developed a series of sculptures whose structural work is based on the arrangement and overlapping of material such as boulders, glass and marble, kept in perfect balance with industrial ratchet straps. The articulation of these elements displays a game of resistance between opposite forces, present throughout all his sculptural work. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.
His work has been exhibited in Marfa Contemporary, Marfa, USA, Museo Universitario de Arte Contemporaneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PSl, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundaci6n/ Colecci6n JUMEX, Mexico City; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, among others; and has been featured in international publications such as Cream 3, ed. Phaidon, 100 Latin-American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila has been recipient of support from the Andy Warhol Foundation, a Kunstwerke residency in Berlin and the National Grant by the Mexican Arts Council (FONCA). He is a founder member of Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico.
Jose Dávila was born in Guadalajara in 1974. Lives and works in Guadalajara, MX
Jose Dávila's artistic practice is located in the boundaries of the homage, imitation and critique. The artist, formerly trained as an architect, uses different reproduction strategies to dismantle the relation between form and content, as well as manifest the virtues and deficiencies of his references. Introducing a particular interest in Western culture, the imagery comprised within the artist's work is based on a deep approach to Architecture and Art History.
In the last years and under these same precepts, Dávila has developed a series of sculptures whose structural work is based on the arrangement and overlapping of material such as boulders, glass and marble, kept in perfect balance with industrial ratchet straps. The articulation of these elements displays a game of resistance between opposite forces, present throughout all his sculptural work. Frequently, the nature of these materials approaches both, architecture construction as well as formal artistic production, which subscribe his work to principles coined by Minimalism and Arte Povera. Dávila has also manifested a special interest in the use and occupation of space, issues that have been present throughout his career.
His work has been exhibited in Marfa Contemporary, Marfa, USA, Museo Universitario de Arte Contemporaneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PSl, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundaci6n/ Colecci6n JUMEX, Mexico City; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, among others; and has been featured in international publications such as Cream 3, ed. Phaidon, 100 Latin-American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila has been recipient of support from the Andy Warhol Foundation, a Kunstwerke residency in Berlin and the National Grant by the Mexican Arts Council (FONCA). He is a founder member of Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
GABRIEL DE LA MORA
55,532, 2015
55,532 eggshells on wood
29.50h x 29.50w inches
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
GABRIEL DE LA MORA
10,107, 2013
10,107 eggshells on wood
11.81h x 11.81w x 1.63d inches
Gabriel de la Mora was born in Mexico City in 1968, where he still lives and works. He earned an MFA from Pratt Institute, NY and a BFA in Architecture from Universidad Anahuac del Norte, Mexico City. His work has been exhibited at solo and group shows in museums and galleries in Mexico, the United States, Canada, Colombia, Brazil, Spain, and the United Kingdom, amongst others. He is represented by Timothy Taylor (London), Sicardi Gallery (Houston), and Proyectos Monclova (Mexico City).
Following a meticulous process, Gabriel de la Mora researches, collects, classifies, catalogues, and manipulates remarkably diverse materials. These materials are familiar, taken from quotidfan objects- his ongoing series The weight of thought for example, repurposes leather and rubber shoe soles. de la Mora's materials of choice are those often consider waste or residue: collected artifacts and antiques, obsolete mechanical and utilitarian objects, parts, corporeal matter, architectural scrap. Through these, De la Mora explores finitude and permanence, the passing of time, its bracketing, and the transformation of matter and energy alike.
The formal outcome of this process plays with pre-established notions of drawing, painting, and sculpture. Characterized by their visual potency, the works complicate theoretical and historical art terms (the ready-made, the objet-trouve, the monochrome, the peinture en plein air). They tackle ironically the abstract and minimalist aesthetic, and inquire on the ever-changing notion of painting as a phenomenon. Can painting originate itself with the passing of time and without any intervention from the artist's hand? This apparent negation of painting and other ontological musings formulated by de la Mora's body of work are extended to artistic practice at large: When is an artwork born and when does it reach its conclusion? What is the role of the artist within the creative act? Coupled with equally methodical and strict processes, Gabriel de la Mora has constituted a practice In which the role of the artist is not to create nor to destroy, but to transform.
RAFAEL LOZANO-HEMMER
Redundant Assembly, 2015
computer, HD digital cameras, thunderbolt hub, code written in OpenFrameworks
2 of 6, 1 AP
29.53h x 25.59w x 5.91d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
RAFAEL LOZANO-HEMMER
Redundant Assembly, 2015 (different view)
computer, HD digital cameras, thunderbolt hub, code written in OpenFrameworks
2 of 6, 1 AP
29.53h x 25.59w x 5.91d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
RAFAEL LOZANO-HEMMER
Redundant Assembly, 2015 (installation view)
computer, HD digital cameras, thunderbolt hub, code written in OpenFrameworks
2 of 6, 1 AP
29.53h x 25.59w x 5.91d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
RAFAEL LOZANO-HEMMER
Redundant Assembly, 2015 (installation view)
computer, HD digital cameras, thunderbolt hub, code written in OpenFrameworks
2 of 6, 1 AP
29.53h x 25.59w x 5.91d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
RAFAEL LOZANO-HEMMER
Reporter with Borders (Mexico-USA), 2007
A C-print lightjet edition
2 of 6, 1 AP
41.34h x 29.53w x 4.53d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
RAFAEL LOZANO-HEMMER
Reporters with Borders (Male-Female), 2007
A C-print lightjet edition
2 of 6, 1AP
41.34h x 29.53w x 4.53d in
Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989, he received a B.Sc. in Physical Chemistry from Concordia University in Montreal, Canada. As an electronic artist, he develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting technologies such as robotics, computerized surveillance or telematic networks.
Inspired by phantasmagoria, carnival and animatronics, his light and shadow works are "antimonuments for alien agency", His large-scale interactive installations have been commissioned for events such as the Millennium Celebrations in Mexico City (1999), the Cultural Capital of Europe in Rotterdam (2001 ), the UN World Summit of Cities in Lyon (2003), the opening of the YCAM Center in Japan (2003), the Expansion of the European Union in Dublin (2004), the memorial for the Tlatelolco Student Massacre in Mexico Cfty (2008), the Winter Olympics in Vancouver (2010), and the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015). Recently the subject of solo exhibitions at the San Francisco Museum of Modern Art, the MUAC Museum in Mexico City, and the Museum of Contemporary Art in Sydney, he was the first artist to officially represent Mexico at the Venice Biennale with a solo exhibition at Palazzo Soranzo Van Axel in 2007. He has also shown at Art Biennials and Triennials in Havana, Istanbul, Kechi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney.
Collections holding his work include the MoMA in New York, Tate in London, AGO in Toronto, CIFO in Miami, Jumex in Mexico City, DAROS in Zurich, Borusan Contemporary in Istanbul, MUAC in Mexico City, 21st Century Museum of Art in Kanazawa, MAG in Manchester, MUSAC in Leon, MONA in Hobart, ZKM in Karlsruhe, MAC in Montreal and SAM in Singapore, among others. He has received two BAFTA British Academy Awards for Interactive Art in London, a Golden Nica at the Prix Ars Electronica in Austria, "Artist of the year" Rave Award from Wired Magazine, a Rockefeller fellowship, the Trophee des Lumieres in Lyon, an International Bauhaus Award in Dessau, the title of Compagnon des Arts et des Lettres du Quebec in Quebec, and the Governor General's Award in Canada. He has lectured at Goldsmiths college, the Bartlett school, Princeton, Harvard, UC Berkeley, Cooper Union, USC, MIT MediaLab, Guggenheim Museum, LA MOCA, Netherlands Architecture Institute, Cornell, UPenn, SCAD, Danish Architecture Cente, CCA in Montreal, ICA in London and the Art Institute of Chicago.
PABLO RASGADO
Ojo por Diente [detail], 2013
brick dust, cement dust, and plaster dust extracted from a demolition
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PABLO RASGADO
Ojo por Diente, 2013
brick dust, cement dust, and plaster dust extracted from a demolition
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PABLO RASGADO
Ojo por Diente [detail], 2013
brick dust, cement dust, and plaster dust extracted from a demolition
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PABLO RASGADO
Ojo por Diente [detail], 2013
brick dust, cement dust, and plaster dust extracted from a demolition
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PABLO RASGADO
Ojo por Diente [detail], 2013
brick dust, cement dust, and plaster dust extracted from a demolition
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PABLO RASGADO
The Unbribable Witness of History , 2015
rebar and concrete
dimensions variable
Pablo Rasgado, (Zapopan Jalisco, 1984) His work has been shown at the XIII Cuenca Biennal, EQ (2016); MOCAD, Ml (2015); Art Basel, Positions; CH (2014) LACMA, LA (2013); Herzl ya Museum of Contemporary Art, IS (2011 ); La Chambre Blanche, Quebec, CAN (2011 ); Museo de Arte Moderno, MX 2013); Museo Carrillo Gil, MX (2012 and 2014); Museo Experimental el Eco, MX(201 O); Stone House Lagos, Nigeria (2010).
Rasgado has been the recipient of of numerous grants and fellowships, such as: Pollock- Krasner Foundation Grant (2016), FONCA-CONACUL TA in (2006, 2010, 2011 and 2017); the Mex Am Fellowship (2007) Programa Bancomer-MACG (2012), and has been a resident at Yaddo, NY (2017); Art Omi, NY (2016); The MacDowell Colony, NH (2015); Cite international des arts, FR (2014); Triangle, NY (2012); la Chambre Blanche; CAN (2011) to name a few.
His work is included in various public collections, such as, CCA Wattis, PAMM and Jumex Collection. He lives and works in Mexico.
PEDRO REYES
Palas por Pistolas, 2006
recycled metal, wood
63.39h x 8.66w x 5.51d inches
Pedro Reyes (b. 1972, Mexico City) has won international attention for large-scale projects that address current social and political issues. Through a varied practice utilizing sculpture, performance, video, and activism, Reyes explores the power of individual and collective organization to incite change through communication, creativity, happiness, and humor.
A socio-political critique of contemporary gun culture is addressed in Reyes's Palas por Pisto/as (2008), in which the artist worked with local authorities in Culiacan, Mexico, to melt down guns into shovels, intended to plant trees in cities elsewhere in the world. Similarly, in Disarm (2013) the Mexican government donated over 6,700 confiscated firearms for Reyes to transform into mechanical musical instruments, which are automated to play a delightful, if surreal loop, retaining the raw emotion of their origination.
Issues of community and compassion are addressed in Sanatorium, activated at the Soldmon R. Guggenheim Museum in New York in 2011, dOCUMENTA (13) in Germany in 2012, and in 2014 at The Power Plant in Toronto and The Institute of Contemporary Art in Miami. In this work, visitors are invited to sign up for a 'temporary clinic,' with the mission of treating various kinds of urban malaise. Therapies such as trust-building games and hypnosis are offered to combat common problems such as loneliness and stress, creating a democratization of therapy.
In Fall 2016, Reyes presented Doomocracy in the Brooklyn Army Terminal in New York. Organ1zed by Creative Time, the "political house of horrors" was an immersive exhibition marking the confluence of two events haunting the American cultural imagination at the time: Halloween and the 2016 presidential election. Presented in the form of a haunted house, visitors navigated a labyrinth of rooms to explore the complexities of political anxiety, with the intention of fostering dialogue around the contentious state of global politics. Reyes lives and works in Mexico City. He studied architecture at the Ibero-American University in Mexico City.
Martin Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent's works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality.
His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with biogs and independent initiatives from the international art scene, while preparing his master's degree on photography at the Academia de San Carlos, UNAM.
Martin Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent's works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality.
His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with biogs and independent initiatives from the international art scene, while preparing his master's degree on photography at the Academia de San Carlos, UNAM.
Martin Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent's works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality.
His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with biogs and independent initiatives from the international art scene, while preparing his master's degree on photography at the Academia de San Carlos, UNAM.
Martin Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent's works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality.
His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with biogs and independent initiatives from the international art scene, while preparing his master's degree on photography at the Academia de San Carlos, UNAM.
Martin Soto Climent (1977, Mexico City) lives and works in Mexico City. In his practice, Soto Climent sources materials and images mainly from city streets or urban suburbs, to create photographs, sculptures and installations that appear to be ready-mades in their humbleness. Reminiscent of conceptual art strategies like appropriation or juxtaposition, his works are the result of slight re-contextualization and delicate rearrangement. Made from vintage clothes, urban leftovers or collaged photographs, Soto Climent's works appear to be fragile assemblages that explore questions of temporality, desire, decay and marginality.
His sculptures often feature temporary interventions into everyday objects that can be easily returned to their original state. Ideas relating to the concept of folds play a crucial role in the artist's practice as his work is highly adept at drawing out libidinous subtleties of images and objects using minimal gestures.
Together with curator Chris Sharp, Soto Climent founded the independent project space Lulu in Mexico City in 2013 and currently collaborates with biogs and independent initiatives from the international art scene, while preparing his master's degree on photography at the Academia de San Carlos, UNAM.
Jonathan Ferrara Gallery, in collaboration with the Consulate of Mexico in New Orleans, is proud to present Sin Título (Untitled), a group exhibition of contemporary Mexican artists organized by New York-based curator Dan Cameron. Sin Título will open at the Jonathan Ferrara Gallery on November 4 and run through December 27, 2017. The exhibition is an official satellite exhibition of Prospect.4 New Orleans, the triennial that Cameron founded shortly after Hurricane Katrina. Sin Título is the first time a group exhibition of contemporary Mexican art ever presented in New Orleans and the Southeast of the United States.
The exhibition will be presented simultaneously at Jonathan Ferrara Gallery on Julia Street and nearby at the Art Gallery of the Consulate of Mexico on Convention Center Boulevard. Both locations are in the Arts District of New Orleans. The featured artists for Sin Título are Hugo Crosthwaite, Jose Davila, Gabriel de la Mora, Rafael Lozano-Hemmer, Pablo Rasgado, Pedro Reyes and Martin Soto Climent.
Coinciding with New Orleans’ celebration of its 300th anniversary in 2018, Sin Título’s historical backdrop is the centuries-old political and cultural bond between the city and its southern neighbor. Whether musical or gastronomical, traces of Mexican culture from colonial to modern times can be found throughout New Orleans today, and the purpose of Sin Título is to add contemporary visual art to that rich exchange.
Ever since the international emergence of Gabriel Orozco and his circle of artist-contemporaries in the mid-1990s signaled a sea change in the art world’s opinion of Mexican art, the country’s gallery and museum scene has expanded dramatically. Correspondingly, while the six artists in Sin Título have all shown their work on multiple occasions in the U.S., the only previous occasion when any have shown in New Orleans was Prospect.1 in 2008, when Pedro Reyes’ sculpture was shown at the Contemporary Arts Center and Rafael Lozano-Hemmer presented and installation at the New Orleans Museum of Art.
As a specialist in both New Orleans and Latin American contemporary art, curator Dan Cameron has written and curated numerous projects on both topics over the past twenty years. Based in New York, he lived from 2007-2012 in New Orleans, founding and directing the first two editions of Prospect Biennial and was Visual Arts Director at CAC from 2007-2010, organized the XIII Bienal de Cuenca in Ecuador in 2016, and is Guest Curator of Kinesthesia: Latin American Kinetic Art 1954-1969, which part of the Pacific Standard Time initiative funded by the Getty Foundation, and opens at Palm Springs Art Museum in September.
The exhibition title, Sin Título, is both a direct reference to the example of Felix Gonzalez-Torres, who often left his works untitled, and an indirect reference to the cultural and political realities of the present age, in which positive emphasis of the rich cultural ties between Mexico and the U.S., and in particular the City of New Orleans, is an area that seems far too frequently overlooked
A public panel with Curator Dan Cameron and visiting artists Hugo Crosthwaite and Pablo Rasgado will be held on November 2, 2017 at the Contemporary Arts Center (900 Camp St) from 6-8 pm. Sin Título will open the following Saturday November 4, 2017 with receptions at both galleries from 6-9 pm for the Arts District of New Orleans First Saturday Gallery Openings. In conjunction with the VIP opening weekend of Prospect.4, the gallery will host a Special Curators Reception on Friday November 17th from 4-7 pm during the Prospect.4 Julia Street Celebration. Curator Dan Cameron will be present at both events. The exhibition will be on view through December 30, 2017. For more information, please contact, Jonathan Ferrara Gallery at 504.522.5471 or info@jonathanferraragallery.com.
Please join the conversation with JFG on Facebook (@Jonathan Ferrara Gallery), Twitter (@JFerraraGallery), and Instagram (@JonathanFerraraGallery) via the hashtags #SinTitulo, #PSsatellites, #ArtsDistrictNewOrleans and #JonathanFerraraGallery.
SIN TÍTULO (Untitled) curated by Dan Cameron;
P.S. Satellites - A Project of Prospect New Orleans
Hugo Crosthwaite
Jose Dávila
Gabriel de la Mora
Rafael Lozano-Hemmer
Pablo Rasgado
Pedro Reyes
Martín Soto Climent
4 November - 27 December 2017
EXHIBITION IN TWO LOCATIONS:
- Jonathan Ferrara Gallery (400A Julia Street)
- Art Gallery of the Consulate of Mexico (901 Convention Center Boulevard Suite 118, entrance through Andrew Higgins Street)
UPCOMING EVENTS:
Sin Título Panel Discussion with curator and visitng artists: Hugo Crosthwaite and Pablo Rasgado
2 November 6-8PM at Contemporary Arts Center
Curator Toast + Brief Walkthrough
4 November, 5-6PM at the Art Gallery of the Consulate of Mexico
901 Convention Center Boulevard Suite 118, entrance through Andrew Higgins Street
First Saturday Gallery Openings
4 November + 2 December, 6-9PM at Jonathan Ferrara Gallery
400A Julia Street
Curator's Reception: P.4 Arts District Gallery Walk
17 November, 4-7PM at both locations
![PABLO RASGADO Ojo por Diente [detail], 2013](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/52071bcb6333188900fdd3056d3c93ce.jpeg)
![PABLO RASGADO Ojo por Diente [detail], 2013](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/7445d667e3cdfcfe711ebf0736f00e2a.jpeg)
![PABLO RASGADO Ojo por Diente [detail], 2013](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/88c35bc7732bd46202fa57e65b3ebd52.jpeg)
![PABLO RASGADO Ojo por Diente [detail], 2013](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5493565707a72c7342335013/71588b483242b00aca7ba00d224108e2.jpeg)
