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

"Monument 3 from Cerro de la Caja, Tequixtepec del Rey, illuminated text” | 2019 | Pintura acrílica y cuentas de vidrio reflectante sobre papel

"Monument 3 from Cerro de la Caja, Tequixtepec del Rey, illuminated text” | 2019 | Acrylic paint and reflective glass beads on paper

"Mesoamerican Negative Space 7” | 2018 | Lápiz sobre papel, resina epóxica y meta

"Mesoamerican Negative Space 7” | 2018 | Graphite on paper, epoxy resin and metal.

An Index and its Settings | 2017

An Index and its Settings | 2017

"Rongorongo text X (RR25), animate to inanimate” | 2015 | Grafito sobre papel y mahogany

"Rongorongo text X (RR25), animate to inanimate” | 2015 | Graphite on paper, mahogany

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

Asymptote towards an ambiguous horizon from LABOR on Vimeo.

Conversación entre la artista Gala Porras-Kim y el curador Adam Kleinman. Trata sobre la participación de la artista en Ways of Reading. Una iniciativa de KADIST curada por Adam Kleinman y presentada en la ciudad de Nueva York en colaboración con e-flux. Gala Porras-Kim fue invitada a formar parte de esta iniciativa con una exposición individual y una colaboración en el seminario, que se llevó a cabo el pasado 1 de febrero en Nueva York, donde presentó su nueva investigación que entrelaza la arqueología, el espacio y la regresión psíquica. La exposición individual ha quedado pospuesta debido a la crisis sanitaria del covid-19 pero que se reactivará en cuanto la situación lo permita. 
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Conversation between the artist Gala Porras-Kim and the curator Adam Kleinman, about Gala Porras-Kim´s work through Ways of Reading a KADIST initiative curated by Adam Kleinman and presented in collaboration with e-flux. Porras-Kim was invited to be part of this initiative with a solo exhibition and a participation in the seminar which took place on February 1st in New York City. The artist presented her new research that interweaves archeology, space, and psychic regression. The solo exhibition has been postponed due to the health crisis of covid-19 and it will be reactivated as soon as the situation allows it.