Artist: Gabriel de la Mora
(f)
February 3, 2015
OMR Galeria
Mexico City, Mexico
Solo show by Mexican artist Gabriel de la Mora
January 30, 2015 Pia Camil https://abstractioninaction.com/artists/pia-camil/Through my work I have shown a proclivity to failure or the decaying associated to the Mexican urban landscape, aspects of modernist culture and traces of art history. My practice has explored the urban ruin – including paintings and photographs of halted projects along Mexico’s highways (Highway Follies); abandoned billboards that become theatre-like backdrops therefore theatricalizing failed capitalist strategies (Espectaculares), or the problems and contradictions that arise when engaging with iconic art works (No A trío A or Cuadrado Negro).
Traducido del inglés
A través de mi obra he mostrado una proclividad al fracaso o a la decadencia asociada al paisaje urbano de México, aspectos de la cultura modernista y las huellas de la historia del arte. Mi práctica ha explorado la ruina urbana, incluyendo pinturas y fotografías de proyectos inconclusos a lo largo de las carreteras de México (Highway Follies), espectaculares abandonados que se convierten en telones de fondo teatrales, por tanto teatralizando estrategias capitalistas fracasadas (Espectaculares) o los problemas y contradicciones que surgen al abordar obras de arte icónicas (No A trío A or Cuadrado Negro).
Selected Biographical Information
Education / Training
- 2006-2008: Master of Fine Arts, The Slade School of Fine Art, London, United Kingdom.
- 1999-2003: Bachelor of Fine Arts, Rhode Island School of Design, Providence, R.I., USA.
Solo Exhibitions
- 2014: “Entrecortinas: abre, jala, corre“, Galería OMR, Mexico City, Mexico.
- 2013: “Espectacular Telón“, Sultana Gallery, Paris, France.
- 2013: “Cuadrado Negro, part of the program Mutatis Mutandis in Artium“, Basque museum-center of contemporary art, Vitoria, Spain.
- 2010: “Lost In You (A Performance That Never Happened)”, Open studio performance, Mexico City, Mexico.
- 2009: “El Resplandor”, El 52 Gallery (project space and residence program ran by OMR Gallery), Mexico City, Mexico.
Group Exhibitions
- 2013: “Draft Urbanism”, Biennial of the Americas, Denver, Colorado, USA.
- 2013: “No A Trio A”, La Casa Encendida, Madrid, Spain.
- 2013: “Horizontal”, La Central Gallery, Bogota, Colombia.
- 2012: “Popo de Paris“, Sultana Gallery, Paris, France.
- 2011: “El Grito“, Museo de Arte Contemporáneo de Castilla y León (MUSAC), Leon, Spain.
- 2011: “Mañana”, Proyectos Ultravioleta, Guatemala, Guatemala.
- 2010: “Sin techo está pelón, colección Jumex”, Universidad de Guanajuato, Guanajuato, Mexico.
- 2010: “El Resplandor”, Museo Experimental el Eco, Mexico City, Mexico.
- 2009: “There are false problems…”, Proyectos Monclova, Monterrey, Mexico.
- 2009: “Residencia de El Resplandor “, OMR Projects, Mexico City, Mexico.
- 2009: “[sic]”, OMR Gallery, Mexico city, Mexico.
- 2009: “This is not an invitation, it’s a presentation”, OMR projects, Mexico City, Mexico.
- 2008: “Lanzarote”, Keith Talent Gallery, London, United Kingdom.
- 2008: “Croyances Quotidiennes”, Palais Université Robert Schuman, Strasbourg, France.
- 2007: “Eventos Sociales”, Galería de Arte Mexicano, Mexico City, Mexico.
Collections
- La Colección Jumex, Mexico City, Mexico.
- Patricia Phelps de Cisneros, New York City, USA.
- Kadist Art Foundation, San Francisco, USA.
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- Pia Camil, “Espectacular Telón Toluca I-VI”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón Ecatepec II”, 2014, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón Pachuca I, and Fragmento 8 I”, 2014, Hand dyed and stitched canvas, and low temperature ceramic with enamel, Variable dimensions. Site-specific project. Location: Galería OMR, Mexico City, Mexico. Photo credit: Courtesy of the artist.
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- Pia Camil, “Fragmento 8 I”, 2014, Low temperature ceramic with enamel, 82.5 x 42.5 x 16.9 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
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- Pia Camil, “Espectacular Telón”, 2013, Hand dyed and stitched canvas, Variable dimensions. Site-specific project. Location: Sultana, Paris, France. Photo credit: Courtesy of the artist.
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- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “Cuadrado Negro”, 2013, Metal beams and construction mesh, 800 x 800 x 800 cm. Site-specific project. Location: Basque museum-center of contemporary art, Vitoria, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “No A Trio A”, 2013, The installation was made for La Casa Encendida, Madrid, with artist Guillermo Mora and the suit was designed in collaboration with Uriel Urban. , Variable dimensions. Site-specific project. Location: La Casa Encendida, Madrid, Spain. Photo credit: Courtesy of the artist.
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- Pia Camil, “Tlatelolco: Shot from a balcony”, 2011, still from Video Floor Projection, (00:06:09), Variable dimensions. Photo credit: Courtesy of the artist.
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- Pia Camil, “Maqueta para el monumento”, 2011, Engraved black marble on wooden base, 27 x 75 x 15 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Highway Follies”, 2011, Resin and mineral powdered pigment, 150 x 200 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Highway Follies (study I)”, 2011, Inkjet Print, 35 x 45 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “More or less Frank Stella”, 2009, Wooden planks painted and treated, floor mounted, 270 x 310 cm. Photo credit: Courtesy of the artist.
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- Pia Camil, “Diagonal Hoarding”, 2008, Painted wooden lengths, Variable dimensions. Photo credit: Courtesy of the artist.
Translated from Spanish
My practice is based on an articulate recursion on the margins of homage, imitation, and critique. As a sort of mirage, I use different reproduction strategies which allow me to dismantle the relationships between form and content, as well as to manifest the virtues and lacks from my references.
My work has been engaged in questioning the limits of instrumental values through the use of everyday materials in the creation of sculptures, objects, and installation. More recently, I have explored photography and document as ways of recording and due to their possibilities of re-signification.
Mi práctica se vale de una elocuente recursividad que se encuentra en los márgenes del homenaje, la imitación y la crítica. Como una suerte de espejismo, utilizo distintas estrategias de reproducción que me permiten desmantelar las relaciones entre forma y contenido, así como manifestar las virtudes y carencias de mis referencias.
Mi trabajo se ha ocupado de cuestionar los límites de los valores instrumentales a través del uso de materiales ordinarios para la creación de esculturas, objetos e instalación. Recientemente, he explorado la fotografía y el documento como formas de registro y sus posibilidades de re-significación.
Selected Biographical Information
Education / Training
- 1993-98: Architecture School, ITESO University, Guadalajara, Mexico
- 1993: Sculpture, Fine arts Academy of San Miguel de Allende, Mexico
Prizes / Fellowships
- 2013: Hotel El Ganzo, San Jose del Cabo, Baja California Sur, México.
- 2003-2004: Residency at Kunstwerke, Berlin, Germany
- 2004: Residency at Ecole cantonal d’art du Valais, Switzerland
- 2001: Residency at Camden Arts Centre, London, UK, supported by the Andy Warhol Foundation
- 2000-2001: Recipient of the Mexican Arts Council Grant for young artists FONCA
Solo Exhibitions
- 2013: “Das Muss der Ort Sein”, Figge Von Rossen Gallery, Cologne, Germany
- 2013: “Shadow as a rumour”, Max Wigram Gallery, London, UK
- 2012: “The Play Game Of The Possible”, Travesía Cuatro, Madrid, Spain
- 2012: “Praise To The Shadow”, MAZ, Zapopan Museum of Art, Guadalajara, Mexico
- 2011: “Only The Shadow Knows”, Galleria Gentili, Prato, Italy
Group Exhibitions
- 2013: “La persistencia de la Geometría”, MUAC, México City
- 2013: “Bucareli Act”, Bucareli street 154, México City
- 2013: “Salón ACME”, Mexico City
- 2013: “Now here is also Nowhere: Part II”, Stroum Gallery, University os Washington, Seattle, USA
- 2012: “Footnotes on Candida Hofer”, OMR Gallery, Mexico City
Publications
- 2012: Elsa Fernández-Santos, This artist dreams of building materials, El País, 8th December
- 2012: David Batty, At Art Basel Miami Beach, the stars line up to be seen-and be shocked, The Observer, 8th of December 2012
- 2013: Paulina Ascencio, Interview with Jose Dávila, Taxi Art Magazine, February http://blog.taxiartmagazine.com/2012/02/interview-with-jose-davila/
- 2008: Jose Dávila, review, Flash Art online, flashartonline.com
- Pierre Alexandre de Looz, Master Riff. Jose Dávila’s Architectural Winks, Tokion
- 2004: Paola Santoscov, Jose Dávila. Revista Código 06140 No. 22, Mexico, p. 42
Collections
- MALBA, Buenos Aires Museum of Latin American Art, Argentina
- MUAC, Museum of Contemporary Art Mexico City, Mexico
- Museo Amparo, Puebla, Mexico
- Fundación Colección JUMEX, Mexico City, Mexico
- MUDAM Museum of modern art, Luxembourg, Luxembourg
Links
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- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
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- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
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- José Dávila, “The bee pour honey on the elephant skull”, 2013, Cardboard boxes, gold leaf, 11 x 34.5 x 22.5 cm / 29 x 54.5 x 43.5 cm. Image courtesy of the artist.
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- José Dávila, “Continuous Space”, 2010, Durock sheets and plaster, Variable dimensions, Installation view. Image courtesy of the artist.
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- José Dávila, “Flat nucleus”, 2007, Acrylic paint on wall, Variable dimensions. Image courtesy of the artist.
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- José Dávila, “Giant Beetle”, 2009, Wood and enamel paint, Variable dimensions. Image courtesy of the artist.
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- José Dávila, “Homage to the square”, 2011, Adhesive film, glass and wood shelf, 100 x 100 x 20 cm. Image courtesy of the artist.
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- José Dávila, “Imbalance of Perfection”, 2010, Aluminum frames, 240 x 240 x 240 cm, installation view. Image courtesy of the artist.
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- José Dávila, “Open System”, 2010, Wood, plywood and water paint, Installation of 5 pieces. Image courtesy of the artist.
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- José Dávila, “Promise of a better world”, 2010, Bricks, white neon lights, Set 1: 150 x 96 x 180 cm / Set 2: 132 x 125 x 240 cm. Image courtesy of the artist.
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- José Dávila, “Shadow over line”, 2009, Glass, wood shelf and adhesive vinyl, Variable dimensions. Image courtesy of the artist.
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- José Dávila, “Topologies of light III”, 2013, Inkjet print on photobase paper, 250 x 500 cm. Image courtesy of the artist.
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- José Dávila, “Untitled”, 2008, Intervened container, 260 x 242 x 1300 cm. Image courtesy of the artist.
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- José Dávila, “Untitled”, 2012, Steel frames, 180 x 180 x 5 cm. Image courtesy of the artist.
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- José Dávila, “Vertical horizon”, 2012, Wood lumbers and metal bases, 407 x 175 x 20 cm. Image courtesy of the artist.
Translated from Spanish
I always knew that when I would leave architecture, someday I would return to it, not as an architect, but as an artist. I do not consider myself a painter, sculptor, draftsman, or photographer. I find reducing art to one technique to be unfair. I am an artist who works with ideas, possibilities and concepts, where each work requires a particular technique. Since I was a child I have struggled to distinguish fantasy from reality; now I constantly try to transform figuration in abstraction and vice versa. I have always liked to surprise myself and surprise everyone else. When this is incorporated into the fact that the work leaves you thinking, the work becomes complete. I am interested in finding the balance between the formal and the conceptual; between the left and the right. I am left-handed and dyslexic, therefore I write backwards in a natural way since I was 4 years old, using the right hemisphere of the brain; where emotional expression, sign language, musical sensibility and artistic sensibility are located. I work, think and speak with numbers, information, counting, figures, in a repetitive, obsessive way, organized within chaos. I constantly seek originality through repetition; I like something to be universal and particular. I am at the same time minimalist and baroque. I have 6.5 cm between my two pupils. The first impression with any work of art will always be visual, as conceptual as this may be. Thus I am interested in experimenting with different ways of “seeing” that are not only through the eyes. To achieve this I often use psychics and blind people, since I am certain of the parallel that exists between a clairvoyant and an artist. I am drawn by paranormal phenomena, criminology, music and meditation, among many other things. I am interested in accumulating objects from 1860 to 1960, approximately, focused on photography and architectural elements, among others. I look for and find “things” that ceased to fulfill the function they were made for and before they are turned into waste, I negotiate them, exchange them or buy them to turn them into something else. My studio is a sort of laboratory where experimentation is fundamental to the process and development in series. All the processes are documented and are part of an archive. When I make a mistake, it is not fixed or patched up; the work is simply discarded and I begin another one from scratch. I like to question and create through a process of destruction. Also to create something to then undo it, then something that apparently does not take me anywhere ends up being the work itself, through the trace, the mark or the document that remains. Work produces work, work produces more work, and work also produces ideas and ideas generate more ideas and also more work. The workshop functions infinitely and circularly, with a team of people that go from the ordinary to the extraordinary. I buy, collect and accumulate a great diversity of archives that ultimately will be a work in themselves, or the raw material of different series to be developed. I write ideas, projects, phrases, words and quantities in my notebooks every day. I always work in different series or projects simultaneously, in some I have absolute control of the work, and in others everything is random. Some works are a 100% created in the studio, while others are found or transformed from garbage to something else. Time, gravity, fragility, waste, and accident are the constants in any series or any work. The energy factor of the works, the objects and the things in general is an important element, such that my definition of art is parallel to the definition of energy: Art is neither created nor destroyed, it can only be transformed.
Siempre supe que al dejar la arquitectura, algún día regresaría a ella, pero ya no más como arquitecto, sino como artista. No me considero pintor, escultor, dibujante, ni fotógrafo; reducir el arte a una técnica me parece injusto. Soy un artista que trabaja con ideas, posibilidades y conceptos, en donde cada obra pide una técnica en particular. Desde pequeño me ha costado diferenciar la fantasía de la realidad; ahora constantemente trato de transformar la figuración en abstracción y viceversa. Siempre me ha gustado sorprenderme y generar sorpresa en los demás, cuando esto se une a que la obra te deje pensando, se completa la pieza. Me interesa encontrar el balance entre lo formal y lo conceptual; entre la izquierda y la derecha. Soy zurdo y disléxico, por lo que escribo al revés desde los 4 años de forma natural, utilizando el hemisferio derecho del cerebro; en donde se localiza la expresión emocional, el lenguaje mímico, la sensibilidad musical y la sensibilidad artística. Trabajo, pienso y hablo con números, información, conteos, cifras, de una forma repetitiva, obsesiva y ordenada dentro de un caos. Busco constantemente la originalidad a través de la repetición, me gusta que algo sea universal y particular; soy minimalista y barroco al mismo tiempo. Tengo 6.5 cm entre cada una de mis dos pupilas. El primer impacto con cualquier obra de arte siempre será visual, por más conceptual que esta sea; por lo que me interesa experimentar con diversas formas de “ver”, que no sea únicamente con los ojos; para lograr esto suelo utilizar videntes e invidentes, ya que estoy seguro del paralelo que existe entre un vidente y un artista. Me llaman la atención los fenómenos paranormales, la criminología, la música y la meditación entre muchas cosas más. Me interesa acumular objetos que van de 1860 a 1960 aproximadamente, enfocados en fotografía y elementos arquitectónicos principalmente, entre muchos más. Busco y encuentro “cosas” que dejaron de cumplir su función para las que fueron hechas y antes de convertirse en un desecho, negociarlas, intercambiarlas o comprarlas para convertirlas en algo más. Mi estudio es una especie de laboratorio, en donde la experimentación es la parte fundamental en el proceso y desarrollo de serie. Todos los procesos quedan documentados y forman parte de un archivo. Cuando cometo un error, no se compone o parcha, simplemente la pieza se descarta y se comienza una nueva desde cero. Me gusta cuestionar y crear mediante de un proceso de destrucción, así como también hacer algo para después deshacerlo y lo que aparentemente no me lleva a nada, en realidad es la obra en sí, a través de la huella, la marca o el registro que queda. El trabajo genera trabajo, el trabajo genera más trabajo, el trabajo genera también ideas y las ideas generan más ideas y a la vez también más trabajo, y así infinitamente y en círculo es la forma en la que funciona el taller, con un equipo de personas que van de lo ordinario a lo extraordinario. Compro, colecciono y acumulo una gran diversidad de archivos que al final serán una obra en sí o la materia prima de diversas series por desarrollar. Todos los días escribo en mis cuadernos ideas, proyectos, frases, palabras y cantidades. Siempre trabajo en varias series o proyectos al mismo tiempo, en algunos tengo un control absoluto de la pieza, en otros todo queda al azar. Algunas obras son creadas al 100% en el estudio, mientras otras son encontradas o transformadas de un desecho a algo más. El tiempo, la gravedad, la fragilidad, el desecho, el accidente, son constantes el cualquier serie o en cualquier pieza. El factor energético de las piezas, de los objetos y las cosas en general es un elemento importante, tanto así que mi definición de arte es un paralelo a la definición de energía: El arte ni se crea ni se destruye, tan solo se transforma.
Selected Biographical Information
Education / Training
- 2006: Work residency, École Régionale des Beaux-Arts Saint-Étienne, France.
- 2001/2003: MFA in Photography and Video (with honors), Pratt Institute, New York, USA.
- 1987/1991: BA in Architecture (with honors), Universidad Anáhuac del Norte, Mexico City, Mexico.
Prizes / Fellowships
- 2013-2015: Sistema Nacional de Creadores de Arte Grant (2013-2016), Mexico.
- 2006: First prize, WTC Artfest 06, II Concurso Internacional de Arte Contemporáneo, Mexico City, Mexico.
- 2005: First prize, VII Bienal de Monterrey FEMSA, Monterrey, Mexico.
- 2005: First prize, SIVAM (Sociedad Internacional de Valores del Arte Mexicano A.C.), Mexico City, Mexico.
- 2001: Fulbright García Robles Grant, Visual Arts section.
- 2001: Jacques and Natasha Gelman Grant.
- 2000: Grant, Jóvenes Creadores 2000, Colima, Mexico.
- 1997: First prize, III Bienal de Pintura de Occidente Alfonso Michel, Colima, Mexico.
Solo Exhibitions
- 2014: “Lo que no vemos lo que nos mira”, Curator Willy Kautz, Museo Amparo, Puebla, Mexico.
- 2012: “T.O.E.F.M.U.T.I.T.O.A.I.I.”, Sicardi Gallery, Houston, Texas, USA.
- 2012: “Exposición Panamericana”, N.C. Arte, Bogotá, Colombia.
- 2012: “Señales Aleatorias / Ruido Blanco”, MUSAS Museo de Arte de Sonora, Mexico.
- 2011: “Ruido Blanco / White Noise”, Museo de Arte Contemporáneo de Oaxaca MACO, Curator: Kerstin Erdmann, Oaxaca, Mexico.
- 2011: “Originalmentefalso”, Galería OMR, México.
- 2011: “Frágil / Fragile: project room”, MOLAA, Museum of Latin American Art, Curator: Cecilia Fajardo Hill, Long Beach, California, USA.
- 2008: “d.i.b.u.j.o.s.”, C. C. Bastero Kulturgunea, Andoain (Gipuzkoa), Spain.
- 2008: “39-G.M.C.-23.sept.07”, Conner Contemporary, Washington, D.C., USA.
- 2008: “Blind lines”, Sicardi Gallery, Houston Texas, USA.
- 2007: “Brújula de cuestiones”, Galería OMR, Mexico City, Mexico.
- 2006: “Extensions”, Galerie La Serre, École Régionale des Beaux-Arts Saint-Étienne, France.
- 2004: “00-04”, Museo de Arte Contemporáneo de Colima, Colima, Mexico.
- 2003: “G.M. antes y después”, exhibition organized by Ministry of Culture of the state of Colima; traveled to 10 venues in Mexico.
- 2001: “Serie Homenaje a Robert Mapplethorpe”, Galería Nina Menocal, Mexico City, Mexico.
- 1997: “The Form Without Form”, Art Museum of the Americas, Washington, D.C., USA.
- 1996: “La Inconciencia de la Vista”, Museo Regional de Historia, Colima, Mexico.
Group Exhibitions
- 2013: “Ruta Mística”, Curator: Gonzalo Ortega, MARCO, Monterrey, Mexico.
- 2013: “Tropicalia Negra”, Curator: Willy Kautz, Museo Experimental El Eco, Mexico City, Mexico.
- 2013: “2013 California-Pacific Triennial”, Chief Curator: Dan Cameron, Orange County Museum, California, USA.
- 2013: “Intersections”, MOLAA, Museum of Latin American Art, Long Beach, California, USA.
- 2013: “Tactility”, Nils Staerk Gallery, Copenhagen, Denmark.
- 2013: “MOCA´S PERMANENT COLLECTION: A selection of recent acquisitions”, Museum of Contemporary Art, Los Angeles, USA.
- 2013: “Materia Sensible”, Curator: Caroline Montenat, Museo de Arte Carrillo Gil, Mexico City, Mexico.
- 2013: “OPINIONE LATINA”, Francesca Minini Gallery, Milan, Italy.
- 2012: “PRIVACY”, Schirn Kunsthalle Frankfurt, Curator: Martina Weinhart, Germany.
- 2012: “Bajo el volcán”, Curator: Raúl Zamudio Taylor, Andrómeda Contemporáneo, San Jose, Costa Rica.
- 2012: “Tell me a story”, MOLAA, Museum of Latin American Art, curadora: Idurre Alonso, Long Beach, California, USA.
- 2012: “Sin límites”, Instituto de México en España, Madrid, Spain.
- 2012: “Una mirada múltiple: selecciones de la Colección Ella Fontanals-Cisneros”, Curator: Osbel Suárez, Museo Nacional de Bellas Artes, Habana, Cuba.
- 2012: “Pobre Artista Rico”, Curator: Willy Kautz, Casa del Lago Juan José Arreola, Mexico City, Mexico.
- 2012: “Obsessive Worlds”, Curator: Sarah Hamilton, Alexandria Museum of Art, Louisiana, USA.
Publications
- 2011: Drive and Method, authors: Gilbert Vicario, Robert C. Morgan, María Minera, Willy Kautz, Miguel Gonzalez Virgen and Gabriel de la Mora edited by Turner.
- 2011: Alegorías Capilares, author Sergio R. Blanco edited by Trilce.
- 2013: Originallyfake, authors: Gabriel de la Mora and Francisco Reyes Palma, edited by LITORAL.
Collections
- Museum of Contemporary Art, MOCA, Los Angeles, California, U.S.A.
- MOLAA, Museum of Latin American Art, Long Beach, California, U.S.A.
- Richard E. Peeler Art Center, De Pauw University, Greencastle, Indiana, U.S.A.
- The Museum of Fine Arts, Houston, Texas, U.S.A.
- El Museo del Barrio, New York., U.S.A.
- Colección Ella Fontanals-Cisneros, Miami Florida, USA
- Fundación/Colección JUMEX, Mexico City, Mexico.
- Colección Fundación Televisa, México.
- Museo de Arte Moderno, Mexico City, Mexico.
- Museo de la Cancillería, S.R.E., Mexico City, Mexico.
- Art Museum of the Americas, Organization of American States, Washington, D.C., USA
- ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain.
- Centro Gallego de Arte Contemporáneo, Santiago de Compostela, Spain.
- Colección FEMSA, Monterrey, Mexico.
- MUSAS, Museo de Arte de Sonora, Hermosillo, Sonora, México.
- Colección SIVAM, Mexico City, Mexico.
- Museo del Palacio del Arzobispado, Mexico City, Mexico.
- Secretaría de Cultura del Estado de Colima, Mexico.
- Colección Universidad de Colima, Mexico.
- Colección Banco de la República, Bogotá, Colombia.
- Sayago & Pardon Collection, California, U.S.A.
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- Gabriel de la Mora, “2/88”, 2011, Polipthic of fragments from photography mounted on paper, 27 x 35 in. Image courtesy of the artist
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- Gabriel de la Mora, “3,936 capas de pintura / layers of paint 1A – 1B”, 2011, Acrylic on aluminum, Dptych (1A) 20.86 x 20.86 x 3.42 in. (53 x 53 x 8.7 cm) / (1B) 15.74 x 15.74 x 3.93 in. (40 x 40 x 10 cm). Image courtesy of the artist
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- Gabriel de la Mora, “3,936 capas de pintura / layers of paint 1A – 1B”, 2011, Acrylic on aluminum, Dptych (1A) 20.86 x 20.86 x 3.42 in. (53 x 53 x 8.7 cm) / (1B) 15.74 x 15.74 x 3.93 in. (40 x 40 x 10 cm). Image courtesy of the artist
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- Gabriel de la Mora, “11,640”, 2013, 11,640 Eggshell pieces on wood, 30 x 30 x 3.9 cm. Image courtesy of the artist
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- Gabriel de la Mora, “13.8 gramos S.T.I.”, Removed acrylic, 21 x 21 cm / case 10.7 x 43 x 43 cm. Image courtesy of the artist
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- Gabriel de la Mora, “13.8 gramos S.T.I.”, Removed acrylic, 21 x 21 cm / case 10.7 x 43 x 43 cm. Image courtesy of the artist
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- Gabriel de la Mora, “62”, 2013, Series: El peso del pensamiento, 66 show soles, 58.3 x 84 cm. Image courtesy of the artist
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- Gabriel de la Mora, “62”, 2013, Series: El peso del pensamiento, 66 show soles, 58.3 x 84 cm. Image courtesy of the artist
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- Gabriel de la Mora, “A.M. 20-3”, 2011, Vintage torn Photography, 36 x 36 x 4.5 cm. Image courtesy of the artist.
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- Gabriel de la Mora, “Altamirano 20 VI”, 2012, Fabric ceiling from 1882 consolidated and mounted on an aluminum strech, 112 x 172 x 3.5 cm. Image courtesy of the artist
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- Gabriel de la Mora, “Altamirano 20 VI”, 2012, (photo documenting the process of the artwork). Image courtesy of the artist
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- Gabriel de la Mora, “Dr. Atl 1934 – 51.8 gramos”, 2012, Removed oil and oil on canvas, triptych, 45.7 x 63.7 x 1.9 cm each. Image courtesy of the artist
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- Gabriel de la Mora, “Normal” (detail), 2012, 1497 post-it flags and pencil on paper, 50 x 35 x 4.6 cm / case 61.2 x 44 x 11.5 cm. Image courtesy of the artist
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- Gabriel de la Mora, “Normal (detail)”, 2012, 1497 post-it flags and pencil on paper, 50 x 35 x 4.6 cm / case 61.2 x 44 x 11.5 cm. Image courtesy of the artist
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- Gabriel de la Mora, “Suelo I, II, III”, 2013, Paint and dirt on metal plate, triptych, 101 x 248.1 cm. Image courtesy of the artist
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- Gabriel de la Mora, “T-1 Edison 169”, 2013, Back of wallpaper on cardboard and wood, 36.7 x 35 x 4.2 cm. Image courtesy of the artist
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- Gabriel de la Mora, “T.M.C. III 1997-2013”, 2013, Removed acrylic from canvas, 48.3 x 48. 2 x 2 cm. Image courtesy of the artist
