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In There But Not, artist Jose Dávila has physically cut out, from photographs, over 100 of the world’s most famous and beloved buildings and structures. Following in the footsteps of his appropriationist forbears from the 1970s and 80s such as renowned artists Sherrie Levine and Richard Prince, and staking a claim for the hand-produced in today’s digital world, Davila takes prosaic architecture so well-known it’s largely taken for granted, and reformats it with a renewed appreciation occurring as a result. Long interested in the relationship between built space and physical place, Dávila saw that by focusing on the silhouette of recognizable architectural icons in unrealistic proportion to their immediate environment, their grandeur was heightened beyond their inherent allure. By cutting the images out by hand, he stays connected to the idea of physically manipulating space-just as architecture itself does.
by Jose Davila
Art / Architecture / History
10 x 9 inches
How many buildings around the world have such distinctive designs that simply their outline, and nothing else, is enough to identify them?
Jose Dávila‘s work is fueled by an interest in the relation between place and fiction, space and temporality as it pertains to architecture. His sculptures, photography, and installations have been featured in the booksCream 3 (Phaidon, 2003), 100 Latin American Artists (Exit, 2007), and Megastructures Reloaded (Hatje Cantz, 2008), and been exhibited at PS1, New York; Kunstwerke, Berlin; San Diego Museum of Art; Reina Sofia, Madrid; Prague Biennale, Camden Arts Centre, London; Museé de Art Moderne, Saint-Etienne; Fundazione Brogovico 33, Lake Como; IVAM, Valencia and more. Dávila has been the recipient of support from the Andy Warhol Foundation, Kunstwerke residency in Berlin, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. He is the director and co-founder of OPA, an artist-run space, in Guadalajara, Mexico where he currently resides and works.