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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

Jose Dávila (Guadalajara, MX, 1974)

Jose Dávila’s work originates from the symbolic languages that function within art history and Western visual culture. These pictorial, graphic and sculptural languages are reconfigured as contradictory and contrasting relations, taking the correspondence between form and content to its limit.

The artist represents these oppositions through different perspectives: the association between images and words; the structural disposition of materials which entails the possibility of a harmonious balance or disarray; the use of peripheral routes in order to define architectural space and the presence of objects. Dávila’s work is essentially a multidisciplinary endeavor that presents a series of material and visual aporias, these paradoxes permit the coexistence of frailty and resistance, rest and tension, geometric order and random chaos.

A part of his work uses the appropriation and recontextualization of iconic artworks in order to question the way in which we recognize and relate visually. A series of translations and editing procedures are employed in order to modify the normal procedure of identification; materials are modified, elements are highlighted or concealed, and the languages of art movements are reproduced with local resources and within a contemporary context.

Dávila’s sculptural work is based on the specificity of the employed materials, their origin, symbolic value and their formal characteristics are elements that take great significance; industrial materials interact with organic raw materials. Dávila arranges objects as if they were basic elements of drawing (point, line and plane) for creating systems that exemplify notions of equilibrium, stability and permanence. With these sculptures Dávila intends to provide visibility to the physical processes that are required in order for things to maintain their shape and occupy space in a specific manner. Human intervention and the material disposition of things produce hybrid systems that respond to structural intuitions; technique unfolds itself as a poetic dimension.

Jose Dávila is a self-taught artist. He studied architecture at the Instituto Tecnológico y de Estudios Superiores de Occidente (Guadalajara, MX).

His work has been exhibited at the Museo del Novecento, Firenze, IT; Getty’s PST LA/LA Triennial, Los Angeles, USA; Blueproject Foundation, Barcelona, SP; Hamburger Kunsthalle, Hamburg, DE; Marfa Contemporary, Marfa, USA; Savannah College of Art and Design, Savannah, USA; Gemeentemuseum, Den Haag, NL; Museum Voorlinden, Wassenaar, NL; Museo Universitario de Arte Contemporáneo MUAC, Mexico City, MX; Caixa Forum, Madrid, SP; MoMA PS1, New York, USA; Kunstwerke, Berlin, DE; San Diego Museum of Art, San Diego, USA; Museo Nacional Centro de Arte Reina Sofia, Madrid, SP; MAK, Vienna, AT; Fundación/Colección JUMEX, Mexico City, MX; Bass Museum of Art, Miami, USA; Museu de Arte Moderna, Sao Paulo, BR; among others.

His work is part of international public and private collections such as Centre Georges Pompidou, Paris, FR; Museo Nacional Centro de Arte Reina Sofía, Madrid, SP; Inhotim Collection, Brumadinho, BR; Hamburger Kunsthalle, Hamburgo, DE. Dávila has been featured in international publications such as Cream 3, ed. Phaidon; 100 Latin American Artists, ed. Exit and the monograph The Feather and The Elephant, ed. Hatje Cantz.

Jose Dávila has been awarded with the 2017 Baltic Artists’ Award in the UK and is a 2016 Honoree of the Hirshhorn Museum in Washington DC, USA. Dávila has received scholarships and funding from the Andy Warhol Foundation and the Sistema Nacional de Creadores del Fondo Nacional para la Cultura y las Artes, Mexico.

 

The artist lives and works in Guadalajara, MX.

 

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

MACBA ARGENTINA | JOSE DÁVILA

Jose Dávila collaborates in the group show ‘Latinoamerica: Volver al Futuro’ at the Museo de Arte Contemporáneo de Buenos Aires ending on 3rd march 2019.

INSTITUTO CULTURAL HOSPICIO CABAÑAS, GUADALAJARA, MEXICO | JORGE MÉNDEZ BLAKE, JOSE DÁVILA, GONZALO LEBRIJA

After traveling through MCA DENVER and ASU Phoenix, the exhibition ‘SABER ACOMODAR: Art and Workshops of Jalisco 1915-Now’ returns to Guadalajara, from where the exhibiting artists originate. The works of Jorge Méndez Blake, Jose Dávila and Gonzalo Lebrija can be seen from the end of July onwards at the Instituto Cultural Hospicio Cabañas.

NOVECENTO DI FIRENZE MUSEUM | JOSE DÁVILA

Jose Dávila presents his exhibition “Not All Those Who Wander Are Lost” at Novecento di Firenze Museum curated by Lorenzo Bruni, in the Renaissance Chapel room, from July 3 to October 11 2018.