At The Drawing Center in New York, artist Gabriel de la Mora presents an installation of 55 pairs of found speaker screens, each imprinted with an inscription created by the dust and air that circulated through the speaker during its life. Pictured: installation view

Synesthetes声称能够将数字、声音或颜色通过感觉通路联系起来-从Wassily Kandinsky到Iannis Xenakis，艺术家们都在音乐中寻找视觉灵感-但我们大多数人都会认为，在现实中，真正看到声音的想法是不可能的。然而，在他目前在绘画中心的展览中，加布里埃尔·德拉·莫拉通过一个独特的唯物主义视角解释了这一命题，同时也突破了绘画媒介的界限。55对老式扬声器格栅布安装在整个画廊的对称排列和集群中，在几十年的广播和音乐广播中留下了明显的印记。

delaMora在墨西哥城跳蚤市场上收集了这些屏幕，他们将早期音乐技术和设计时代的神秘单板投射出来；
在雪佛龙、格栅和波状条纹中编织，大部分是用金色或黑色细节作为经纱和纬纱的暗棕色织物。

然而，每一块格栅布一旦脱离扬声器的电枢，展开平面，就会以黑色的圆圈和长方形补丁的形式出现，标志着暴露的地方，被灰尘、声音、光线和触摸所玷污。像聋人一样，这些形状是索引的，甚至是摄影的；它们记录流行歌曲和新闻报道、广播片段和体育游戏的印记，集体历史中会有外部的街道噪音和私人谈话。不被艺术家自己的手改变，幽灵的形状似乎是由声音本身绘制的，在时间和大气干预的帮助下。

These dust particles visually record the cadences and volume of voices, advertisements, news broadcasts, soap operas, football games and music, as well as interference and silence

De la Mora interprets the proposition of 'seeing sound' through a uniquely materialist lens, while also pushing the boundaries of the medium of drawing

De la Mora collected these screens in Mexico City flea markets. Pictured: B-135, 2015. Courtesy Timothy Taylor, London; Proyectos Monclova, Mexico City; and Sicardi Gallery, Houston

They project the veneer of an earlier era in music technology and design. Pictured: B-194, 2015. Courtesy Timothy Taylor, London; Proyectos Monclova, Mexico City; and Sicardi Gallery, Houston

Woven in chevrons, grids and undulating stripes, most are constructed in dull-brown fabric with gold or black details as warp and weft. Pictured: B-91, 2015. Courtesy Timothy Taylor, London; Proyectos Monclova, Mexico City; and Sicardi Gallery, Houston

Unaltered by the artist’s own hand, the ghostly shapes appear to have been drawn by sound itself, aided by time and atmospheric intervention

keywords:New York exhibitions

关键词：纽约展览