Gala Porras-Kim

Gala Porras-Kim

Bogotá, Colombia, 1984. Lives and works in Los Angeles, United States.

Gala Porras-Kim's work questions how knowledge is acquired and tests the potential of the art object to function as an epistemological tool outside of its traditional historical context. Her recent work examines the ultimate and literal signifier of culture: language, particularly its sounds.

Gala uses the social and political contexts that influence the representation of language and history to make art objects through the learning process. The work comes from a research-based practice that questions how intangible things; sounds, language and history, have been represented through different methodologies such as linguistics and conservation, taking into account the way in which people use the sounds that make up communication with an object.

Rongorongo text L (RR21), holding hands | Grafito sobre papel, adhesivo y mahogany | 74.9 x 62.2 cm | 2015

Rongorongo text L (RR21) | holding hands

Future Sounds Replicate Earlier Sounds | Madera, barro, alambre | Dimensiones variables | 2014

Future Sounds Replicate Earlier Sounds 1-9 | Wood, clay, wire | Variable dimensions | 2014

The artist speculates on the possible narratives of the objects, the potential stories of fragments that reintroduce the exhibition to the current modes of representation. Its condition as such is understood and processed as part of a logic in which the artistic gesture of reformulation gives new life to the narrative of objects that would otherwise be lost in history.

Porras-Kim considers the limits of museum practices through the strategies of contemporary art and allows materials to move from their locations in drawers and vaults to a new logic of exhibition and cataloging.

Whitney Biennial 2019 | Whitney Museum of American Art

Whitney Biennial 2019 | Whitney Museum of American Art

An Index and its Settings | 2017

An Index and its Settings | 2017

Future Sounds Replicate Earlier Sounds | Madera, barro, alambre | Dimensiones variables | 2014

Future Sounds Replicate Earlier Sounds 1-9 | Wood, clay, wire | Variable dimensions | 2014

For Prospective Rock/Artifact Projection | Grafito sobre papel, plexiglás, rotulador | 124.42 x 264.16 x 6.35 cm | 2014

For Prospective Rock/Artifact Projection | Graphite on paper, plexiglass, felt tip pen | 56 x 104 x 2.5 inches | 2014

For Learning Zapotec Verb | Madera, lápiz, papel, alambre, piedras encontradas | 127 x 95.5 x 6.35 cm | 2012

For Learning Zapotec Verbs | Wood, pencil, paper, wire, found rocks | 50 x 37.5 x 2.5 inches | 2012

For Learning Zapotec Verb | Madera, lápiz, papel, alambre, piedras encontradas | 127 x 95.5 x 6.35 cm | 2012

For Learning Zapotec Verbs | Wood, pencil, paper, wire, found rocks | 50 x 37.5 x 2.5 inches | 2012

Ah Yah | Mp3, papel, base giratoria | 12.7 x 10.16 x 10.16 cm | 2010

Ah Yah | Mp3, paper, rotating base | 5 x 4 x 4 inches | 2010

I Want to Prepare to Learn Something I don’t Know | Commonwealth & Council | 2010

I Want to Prepare to Learn Something I don’t Know | Commonwealth & Council | 2010

Remembering Places by the Shape of their Billboard - Beverly after Normandie | Lightjet print | 50.8 x 35.56 cm | 2010

Remembering Places by the Shape of their Billboard - Beverly after Normandie |Lightjet print | 20 x 14 inches | 2010

Towards Huautla | Madera, piedras, tela, espejo, video de google maps | 43.18 x 68.58 cm | 2012

Towards Huautla, OX | Wood, stones, fabric, mirror, google maps video | 17 x 27 inches | 2012

Q’s - Proposal for a Sign Addition to Q’s Nightclub | Impresión lightjet, grafito sobre papel | 76.2 x 106.68 cm | 2010

Q’s - Proposal for a Sign Addition to Q’s Nightclub | Lightjet print, graphite on paper | 30 x 42 inches | 2010

Sign Installations in Oaxacan Stores | Corredor comercial Soledad, Centro Histórico, Oaxaca, México | 2014

Sign Installations in Oaxacan Stores | Corredor comercial Soledad, Downtown, Oaxaca, Mexico | 2014