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Jose Dávila

Guadalajara, Mexico. 1974
Practical Structures, installation view, SCAD Museum of Art
Practical Structures, installation view, SCAD Museum of Art
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Joint Effort
2016. San Andrés stone volumes, boulder and ratchet straps. 141x40x45 cm
Joint Effort, 2016
San Andrés stone volume, smoked glass and ratchet straps. 190x130x51.5cm
Untitled
2016. San Andres stone volumes, rock, and metal beams. 130.5x305x87 cm.
Joint Effort
2016. San Andrés stone volumes, boulder, and ratchet strap. 199x40x40 cm.
Rock Drawing II, 2015
Imbalance of Perfection
2010. Aluminium. 240x240x240 cm
Strange World (Coca Cola)
2014
Brute Force
2012. Stone and plastic sacks. 78x36x41 cm.
Untitled, 2010
Cajas de cartón. Medidas variables.
Untitled, 2015
Acero, 300x300x2400cm
Joint Effort
2014. Adhesive vinyl film on archival pigment print. 183.5 x 125 x 130 cm
Joint Effort
2015. Smoked glass, ratchet strap and eyebolt. 250 x 190 x 40 cm.
Joint Effort
2015
Homage to the square
2014. Hand cut and painted high temperature ceramic. 50x50x8 cm.
Homage to the Square
2011
Homage to the Square
2011
Shadow over Line
2009
Homage to the Square
2013. Aluminum frames, paint, metal wire. 180x180x5 cm.
The Space beneath Us
2012. Mexican Tlaquepaque traditional handmade ceramic. 800x800x120 cm.
Continuous Space
2010
Continuous Space
2010
Continuous Space
2010
Topologies of Belief (Details)
2011. Archival pigment print
Topologies of Belief
2011
Moments of Equilibrium IV (Details)
2013
Exercice of the Possible
2007
Exercices of the Possible
2014
Topologies of Light I
2012. Archival pigment print. 141 x 384 cm.
Topologies of Light I
2012. Detail. Archival pigment print.
Architecture Topologies I
2012. 50x72 cm/each one. 105x226 cm.
JD-17-05 Mockup
Judd Stack
2012
A Copy is a Meta-Original (Fig.51)
2015
A Copy is a Meta-Original (Fig.24)
2015
A Copy is a Meta-Original
2015
A Copy is a Meta-Original (Fig.161)
2015
Captura-de-pantalla-2017-07-12-a-las-12.22.51
Fragments of a Metropolis
2016. Metal frames and epoxy paint. 202 x 234 x 190 cm
DSC_4053edit
Untitled (Cowboy)
2014. Archival pigment print. 50.8 x 61 cm
Untitled (Cowboy)
2014. Archival pigment print. 154 x 220 cm
JD-17-07
JD-17-163-Mockup
Topologies-of-light
installation work by Jose Davila, Bloomberg SPACE, London, 2009
installation work by Jose Davila, Bloomberg SPACE, London, 2009
installation work by Jose Davila, Bloomberg SPACE, London, 2009
installation work by Jose Davila, Bloomberg SPACE, London, 2009
AI WEIWEI
Buildings-you-have-to-see-before-you-die
Díptico-Serra-Mockup
DSC_0455
The Origins of Drawing V
2014. Gold leaf on archival pigment print. 270 x 180 cm
JD-16-220 low
JD-17-148-A-low
Untitled
2018. Glass and boulders. 125 x 539 x 54 cm
JDA180
Homage to the Square
2015. Paint, glass, and wooden shelf. 100 x 100 x 20 cm
Homage to the Square
2015. Paint, glass, and wooden shelf. 100 x 100 x 20 cm
Strange World (Persil)
2014. Cardboard box and gold leaf. 30 x 40 x 30 cm

The work of Jose Dávila is the result, on one hand, of taking the resistance of both form and material to its limit, and on the other, of the appropriation and re-contextualization of poignant works of art throughout history, defining them within a local and contemporary context. Dávila’s work shows apparently opposed materials where forces and forms are balanced to achieve a harmonious whole that transforms his creations into representations of our doubts and own contradictions.

His work is a visual and material aporia, an insoluble logical paradox, where we discover a coexistence of fragility and resistance, calm and tension, geometry and chaos. His multidisciplinary work often departs from the creation of a visual glossary where all variations are the result of a basic idea; in their arrangement, these basic forms become a language for the totality of the work. Each of the pieces evolve naturally within the specific conditions and characteristics of their format and material.

His sculptures are a reflection of the phenomenon of gravity, the laws of static and dynamic energy, the tractive force used to generate motion and the compression strength, the potential for deformation prior to the rupture of materials, and, above all, of structural intuitions. The assembly of delicately balanced materials highlight the human intervention that transforms the space and re-signifies the object. The structures created by Dávila work within their own logic in the search for the exogenous centre of gravity and in the limits of the resistance of the materials, where the form is a consequence of the process.

Jose Dávila studied architecture in the Instituto Tecnológico y de Estudios Superiores de Occidente in Guadalajara, Mexico, however, he considers himself a self-taught artist, with an intuitive formation.

His work is part of the Getty’s PST LA/LA triennial in Los Angeles and has been exhibited in Hamburger Kunsthalle, Hamburg, DE; Marfa Contemporary, Marfa, USA, Savannah College of Art and Design; Gemeentemuseum, Den Haag; Museum Voorlinden, AG Wassenaar, Nederland, Museo Universitario de Arte Contemporáneo MUAC, Mexico City; Caixa Forum, Madrid; MoMA PS1, New York; Kunstwerke, Berlin; San Diego Museum of Art; Museo de Arte Reina Sofia, Madrid; MAK, Vienna, Fundación/ Colección 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 and The Feather and The Elephant, ed. Hatje Cantz. Dávila has received support from the Andy Warhol Foundation, the Kunstwerke in Berlin and the Sistema Nacional de Creadores del Fondo Nacional para la Cultura y las Artes, México. Jose Dávila is a founding member of the Oficina para Proyectos de Arte (OPA), in Guadalajara, Mexico. Jose Dávila was awarded with the Baltic Artists’ Award in 2017 along with artists Eric N. Mack, Toni Schmale and Shen Xin; his public art Project Sense of Place is currently on view scattered in different locations of Los Angeles, as part of the program PST:LA/LA of the Getty Foundation.

Joint Effort
2014. Adhesive vinyl film on archival pigment print. 183.5 x 125 x 130 cm
Homage to the Square
2013. Aluminum frames, paint, metal wire. 180 x 180 x 5 cm
Untitled
2018. Glass and boulders. 125 x 539 x 54 cm
Homage to the Square
2015. Paint, glass, and wooden shelf. 100 x 100 x 20 cm
Homage to the Square
2015. Paint, glass, and wooden shelf. 100 x 100 x 20 cm
Fragments of a Metropolis
2016. Metal frames and epoxy paint. 202 x 234 x 190 cm
Untitled (Cowboy)
2014. Archival pigment print. 50.8 x 61 cm
Untitled (Cowboy)
2014. Archival pigment print. 154 x 220 cm
Strange World (Persil)
2014. Cardboard box and gold leaf. 30 x 40 x 30 cm
ARCO Booth 2018
Aporía II. 2017. Black Universe marble, nestos marble and yellow glass. 190 x 179.5 x 109.1 cm
The Origins of Drawing V
2014. Gold leaf on archival pigment print. 270 x 180 cm
Partial view exhibition
Practical Structures
Posibilidades Finitas I
2012. Cement, neon. 77 x 222 x 140,5 cm.
News

TRAVESÍA CUATRO AT FRIEZE NY | BOOTH 4D

Travesía Cuatro | Frieze NY | BOOTH 4D
ALEXANDRE ESTRELA, ELENA DEL RIVERO, JORGE MÉNDEZ BLAKE, MATEO LÓPEZ, JOSE DÁVILA, JOHN ISAACS, SARA RAMO
Mayo 3, 2018 – Mayo 6, 2018

 

ARIZONA STATE UNIVERSITY | GROUP SHOW

 SABER ACOMODAR: Art and Workshops of Jalisco 1915–Now
JORGE MÉNDEZ BLAKE, JOSE DÁVILA, GONZALO LEBRIJA
Arizona State University Museum
March 17, 2018 – June 30, 2018

LAND: LOS ANGELES NOMADIC DIVITION, LOS ANGELES | JOSE DÁVILA

Jose Dávila has been awarded a grant for an exhibition at LAND as part of the Getty’s Pacific Standard Time: LA/LA initiative in September, 2017 till 27 of May 2018.

LAND commissioned Guadalajara-based artist Jose Dávila to create Sense of Place, a multi-site, large-scale, public sculpture exhibition migrating through, and integrating into, the diverse urban landscape of Los Angeles to draw a portrait of the city’s many experiences, geographies and histories. Sense of Place was derived from Davila’s Joint Effort sculpture series which expands the concepts of balance and equilibrium using basic construction materials such as concrete blocks and stones.

The six ton concrete sculpture will be on view to the public in the park from sunrise to sunset through November 2017 when it will begin to disassemble into 40 individual sculpture pieces and then migrate throughout the city to be reinstalled in approximately 20 different public sites. Public programming will be announced throughout the exhibition to celebrate the sculpture’s migration.