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Jose Dávila

Guadalajara, Mexico. 1974
Sense of Place
2017-2018. Los Angeles Nomadic Division, Pacific Standard Time: LA/LA. Getty Foundation. Los Angeles. California.
Sense of Place
2017-2018. Los Angeles Nomadic Division, Pacific Standard Time: LA/LA. Getty Foundation. Los Angeles. California.
Sense of Place
2017-2018. Los Angeles Nomadic Division, Pacific Standard Time: LA/LA. Getty Foundation. Los Angeles. California.
Sense of Place
2017-2018. Los Angeles Nomadic Division, Pacific Standard Time: LA/LA. Getty Foundation. Los Angeles. California.
Every Blind Wondering ends in a Circle
2017. BlueProject Foundation Barcelona. Spain
2017. BlueProject Foundation Barcelona. Spain
2017. BlueProject Foundation Barcelona. Spain
2017. BlueProject Foundation Barcelona. Spain
2017. BlueProject Foundation Barcelona. Spain
The weaker has conquered the stronger
2017. The Baltic Art Centre. Newcastle. England
The weaker has conquered the stronger
2017. The Baltic Art Centre. Newcastle. England
Legacy is Seldom Stable
2017. Kunsthalle Hamburg. Germany
Legacy is Seldom Stable
2017. Kunsthalle Hamburg. Germany
Legacy is Seldom Stable
2017. Kunsthalle Hamburg. Germany
Legacy is Seldom Stable
2017. Kunsthalle Hamburg. Germany
Pendulum
2017. Kunsthalle Hamburg. Germany
Practical Structures
2016. SCAD Museum of Art. Georgia. EEUU.
Untitled
2018. Glass and boulders. 125 x 539 x 54 cm
Joint Effort
2017. Glass, mirror and ratchet strap. 183 x 490 x 130 cm
Joint Effort
2017. Glass, mirror and ratchet strap. 188 x 195 x 130 cm
Aporía X
2017. Brown marble of Camberos and smoked glass. 190 x 183 x 102 cm
Joint Effort
2016. Frieze Sculpture Park. Cement, iron, volcanic rock. 310 x 232 x 267 cm
Untitled
2017. Acrylic on linen. 218 x 350 cm
Bison and Other Animals.
2017. Acrylic on linen. 200 x 220 cm
Cerceaux
2017. Acrylic on linen. 210 x 170 cm
A Copy Is a Meta-Original
2017. Acrílico sobre lino. 210 x 170 cm
A copy Is a Meta-Original
2015. Adhesive vinyl on archive pigment. 109.9 x 141.5 cm
Untitled
2016. St. Andrew's Stone, rock and metal beams. 130.5 x 305 x 87 cm
Joint Effort
2016. San Andrés stone volumes, boulder, and ratchet strap. 199x40x40 cm.
Container
2015. Site Specific. Steel, 300 x 300 x 2400cm
Container
2015. Site Specific. Steel, 300 x 300 x 2400cm
Strange World (Coca Cola)
2014. Cardbord box and gold leaf. 5 x 43 x 28 cm
Strange World (Persil)
2014. Cardboard box and gold leaf. 30 x 40 x 30 cm
The Origins of Drawing V
2014. Gold leaf on archival pigment print. 270 x 180 cm
Fragments of a Metropolis
2013. metal frames and epoxy paint. 170 x 170 x 150 cm
Fragments of a Metropolis
2013. metal frames and epoxy paint. 170 x 170 x 150 cm
Homage to the Square
2013. Aluminum frames, paint, metal wire. 180x180x5 cm.
Homage to the Square
2011. Ceramics cuted and painted by hand.
Homage to the square
2014. Ceramics cuted and painted by hand. 50x50x8 cm.
Homage to the Square
2015. Ceramics cuted and painted by hand. 100 x 100 x 20 cm
Brute Force
2012. Stone and plastic sack. 78 x 36 x 41 cm
Untitled (Judd series)
2007. Voorlinden Museum. Netherlands.
Exercices of the Possible
2014. 2014. Acrylic paint on catalogue pages. 220 x 300 cm
Architecture Topologies I
2012. Archival print. 50 x 72 cm
Grand Nucleus
2012. Archival inkjet print on photobase paper. 97 x 157 x 7 cm
Buildings you have to see before you die
2008. Print, paper cuted. 27 x 34.5 cm
Chronological history of sculpture
2013. Pigmented inkjet print on photographic paper. 215.5 x 486.5 cm
Robert Smithson from the series: You talk about it but I just can't see it
2011. Intervened digital print. 26.6 x 23 cm
Topologías of Memory
2017. Archival quality print. 226 x 500 cm
Topologies of Belief
2011. Piezography printed on photographic paper. 99 x 351 cm
Díptico Serra Mockup
2017. Print on photographic paper. 100 x 229 cm
Topologies of Light
2012. Piezography printed on photographic paper. 135 x 636 x 5 cm
AI WEIWEI
2012. Print on on photographic paper.
The space beneath us
2012. Bass Museum. Miami Beach. USA
The space beneath us
2012. Bass Museum. Miami Beach. USA
Promise of a Better World
2010. Bricks and neon light. 150 x 96 x 180cm
Promise of a Better World
2011. Concrete block and neon light. 91 x 110 x 21 cm
Continuous Space
2010. Vigo Contemporary Museum of Art. Spain
Continuous Space
2010. Vigo Contemporary Museum of Art. Spain
Continuous Space
2010. Vigo Contemporary Museum of Art. Spain
Continuous Space
2010. Vigo Contemporary Museum of Art. Spain
Comma
2009. Bloomberg SPACE. London. England
Comma
2009. Bloomberg SPACE. London. England
Imbalance of Perfection
2010. Aluminium frames. 240 x 240 x 240 cm. MAZ Museum. México
Shadow over Line
2009. Glass, adhesive vinyl film, and wooden shelf. 100 x 120 x 20 cm
Bicho Gigante I
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Bicho Gigante I
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Gonzalo Lebrija
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Untitled (mural)
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Untitled (mural)
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Bajo Relieve
2009. Dos más dos igual a cinco. Travesia Cuatro. Madrid. Spain
Exercice of the Possible
2007. C-Print. 27 x 20 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. Ceramics cuted and painted by hand. 100 x 100 x 20 cm
Fragments of a Metropolis
2013. metal frames and epoxy paint. 170 x 170 x 150 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.