Woman (Gala Porras-Kim) with dark hair pulled back wearing black blazer over white top, smiling slightly at camera in modern interior with blurred background.

Gala Porras-Kim. Photo: Mike Vitelli

 

The research-based practice of Gala Porras-Kim (*1984) considers the relationships between historical objects and their many stakeholders over time, examining how the ways contemporary societies rank, classify, and care for such objects reveal their own priorities. These choices determine the conventions governing their collection, conservation, and display. By examining how institutional frameworks—classification systems, preservation protocols, and curatorial choices—shape the meanings assigned to objects, she exposes the distance between what an artifact was intended to do and what a museum makes of it. Central to this inquiry is an attention to the spiritual and ritual dimensions of objects that institutional custody tends to suppress: things made for ceremony, offering, or the afterlife, now held in storage or on permanent display.

 

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Early projects such as Whistling and Language Transfiguration (2012) and The Mute Object and Ancient Stories of Today (2013) approached these questions through language and script, the latter presenting hand-drawn diptychs of artifacts bearing undeciphered Mesoamerican writing alongside recodified versions of their scripts, inviting viewers to participate in the production of meaning from forms that remain untranslated. Working with the Fowler Museum at UCLA for Made in L.A. 2016, Porras-Kim selected unidentified objects from the institution’s storage and proposed hypothetical complete forms for each—singular suggestions for fragments the museum itself could not place.

The series of works La Mojarra Stela (2019)—centred on an undeciphered Mesoamerican monument from 156 CE—used graphite drawing and sculpture to probe how meaning is generated, or projected, onto script that has not yet been translated. Precipitation for an Arid Landscape (2021–23), developed in dialogue with Harvard’s Peabody Museum of Archaeology and Ethnology, examined artifacts from the Sacred Cenote at Chichén Itzá: objects deposited as ritual offerings to the Maya rain god Chaac and later extracted by a nineteenth-century expedition. Porras-Kim wrote to the directors of several institutions holding these objects, asking them to consider what the objects themselves had been made for. Only one responded.

At Gasworks, London, the 2022 solo exhibition Out of an Instance of Expiration Comes a Perennial Showing cultivated microorganisms swabbed from objects in the British Museum’s collection onto muslin, proposing that matter finds its own way out of institutional custody, transforming beyond the reach of conservation into dust, spores, or other forms. 530 National Treasures (2023), shown at Leeum Museum of Art in Seoul, turned to Korean cultural objects designated as national heritage that were rendered in colored pencil on large-scale paper. At the Fowler Museum at UCLA that same year, The Weight of a Patina of Time worked with the institution’s own holdings, focusing on objects whose ownership histories remain incomplete or contested.

In the ongoing sculptural series All Earth energy sources are known to come from the Sun, environmental forces are given a determining role in the work’s final form. A brass sheet, proportioned in relation to the architecture of the exhibition space, reflects sunlight onto an adjacent wall, imperceptibly burning a drawing into its surface. Through its encounter with natural processes—forces outside the artist’s control—the work becomes both a generative act of marking and a record of inevitable disintegration.

 

Gala Porras-Kim
The Living Collection
© 2023 J. Paul Getty Trust

 

Works
Gala Porras-Kim
530 National Treasures, 2023

Gala Porras-Kim
530 National Treasures, 2023
Colored pencil and Flashe on paper
181 × 299.7 cm (each) | 71 1/4 × 118 inches (each)
182.2 × 301.6 cm (each) | 71 3/4 × 118 3/4 inches (each) (framed)

Photo: Paul Salveson

More views
Gala Porras-Kim
Proposal for the reconstituting of ritual elements of the Sun Pyramid, at Teotihuacan, 2019

Gala Porras-Kim
Proposal for the reconstituting of ritual elements of the Sun Pyramid at Teotihuacan, 2019
Polyurethane and acrylic paint, pigments and document
256 × 47 × 30 cm, 143 × 40 × 26 cm | 100 7/8 × 18 1/2 × 11 7/8 inches, 56 1/4 × 15 3/4 × 10 1/4 inches

Gala Porras-Kim
Untitled (Efflorescence), 2018/24

Gala Porras-Kim
Untitled (Efflorescence), 2018/24
Concrete, salt
Dimensions variable

Gala Porras-Kim
The weight of a patina of time, 2024

Gala Porras-Kim
The weight of a patina of time, 2024
Graphite, color pencil and encaustic on paper
Triptych: 228.6 × 182.8 cm (each) | Triptych: 90 × 72 inches (each) (framed)

Gala Porras-Kim
Mediating with the rain, 2021–ongoing

Gala Porras-Kim
Mediating with the rain, 2021–ongoing
Installation with documents, letter, newspaper clippings, publications and short movies
Dimensions variable

Gala Porras-Kim
A terminal escape from the place that binds us, 2021

Gala Porras-Kim
A terminal escape from the place that binds us, 2021
Ink on paper, mahogany frame and document
185.4 × 243.8 × 5.1 cm | 73 × 96 × 2 inches (framed)

Installation view at the 13th Gwangju Biennale
Photo: Sang Tae Kim

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing
Propagated spores from the British Museum and potato dextrose agar on muslin
Dimensions variable

More views
Gala Porras-Kim
Leaving the institution through cremation is easier than as a result of a deaccession policy, 2021

Gala Porras-Kim
*Leaving the institution through cremation is easier than as a result of a deaccession policy, 2021
Ashes, tissue and document
37.5 × 37 cm | 14 3/4 × 14 5/8 inches

Gala Porras-Kim
La Mojarra Stela, 2019

Gala Porras-Kim
La Mojarra Stela, 2019
Graphite on paper, 3 parts
274.3 × 184.8 cm | 108 × 72 3/4 inches (each) (framed)

Installation view at the Whitney Biennial, 2019
Photo: Ron Amstutz

Gala Porras-Kim
An accession traversing an ancient timeline, 2024

Gala Porras-Kim
An accession traversing an ancient timeline, 2024
Graphite on paper
215.9 × 152.4 cm | 85 × 60 inches
219.1 × 156.1 cm | 86 1/4 × 61 1/2 inches (framed)

Gala Porras-Kim
The Michael C. Rockefeller Wing at the Met 1982–2021 fragment, 2022

Gala Porras-Kim
The Michael C. Rockefeller Wing at the Met 1982–2021 fragment, 2022
Residue collected from the de-install of the M.C.R. Wing at the Metropolitan Museum, binder
9.5 × 9.5 × 9.5 cm | 3 3/4 × 3 3/4 × 3 3/4 inches

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Details

Gala Porras-Kim
530 National Treasures, 2023
Colored pencil and Flashe on paper
181 × 299.7 cm (each) | 71 1/4 × 118 inches (each)
182.2 × 301.6 cm (each) | 71 3/4 × 118 3/4 inches (each) (framed)

Photo: Paul Salveson

Gala Porras-Kim
530 National Treasures, 2023
Gala Porras-Kim

Gala Porras-Kim
530 National Treasures, 2023

Installation view at Leeum Museum of Art, Seoul
Photo: Yang Ian

Gala Porras-Kim
530 National Treasures, 2023
Gala Porras-Kim

Gala Porras-Kim
530 National Treasures, 2023 (detail)

Photo: Paul Salveson

Gala Porras-Kim
530 National Treasures, 2023
Gala Porras-Kim

Gala Porras-Kim
530 National Treasures, 2023 (detail)

Photo: Paul Salveson

Gala Porras-Kim
530 National Treasures, 2023
Gala Porras-Kim

Gala Porras-Kim
530 National Treasures, 2023 (detail)

Photo: Paul Salveson

Gala Porras-Kim
530 National Treasures, 2023
Gala Porras-Kim

Gala Porras-Kim
530 National Treasures, 2023 (detail)

Photo: Paul Salveson

Gala Porras-Kim
530 National Treasures, 2023

Gala Porras-Kim
Proposal for the reconstituting of ritual elements of the Sun Pyramid at Teotihuacan, 2019
Polyurethane and acrylic paint, pigments and document
256 × 47 × 30 cm, 143 × 40 × 26 cm | 100 7/8 × 18 1/2 × 11 7/8 inches, 56 1/4 × 15 3/4 × 10 1/4 inches

Gala Porras-Kim
Proposal for the reconstituting of ritual elements of the Sun Pyramid, at Teotihuacan, 2019

Gala Porras-Kim
Untitled (Efflorescence), 2018/24
Concrete, salt
Dimensions variable

Gala Porras-Kim
Untitled (Efflorescence), 2018/24

Gala Porras-Kim
The weight of a patina of time, 2024
Graphite, color pencil and encaustic on paper
Triptych: 228.6 × 182.8 cm (each) | Triptych: 90 × 72 inches (each) (framed)

Gala Porras-Kim
The weight of a patina of time, 2024

Gala Porras-Kim
Mediating with the rain, 2021–ongoing
Installation with documents, letter, newspaper clippings, publications and short movies
Dimensions variable

Gala Porras-Kim
Mediating with the rain, 2021–ongoing

Gala Porras-Kim
A terminal escape from the place that binds us, 2021
Ink on paper, mahogany frame and document
185.4 × 243.8 × 5.1 cm | 73 × 96 × 2 inches (framed)

Installation view at the 13th Gwangju Biennale
Photo: Sang Tae Kim

Gala Porras-Kim
A terminal escape from the place that binds us, 2021

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing
Propagated spores from the British Museum and potato dextrose agar on muslin
Dimensions variable

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing
Gala Porras-Kim

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing (detail)

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing
Gala Porras-Kim

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing

Gala Porras-Kim
Out of an instance of expiration comes a perennial showing, 2022–ongoing

Gala Porras-Kim
*Leaving the institution through cremation is easier than as a result of a deaccession policy, 2021
Ashes, tissue and document
37.5 × 37 cm | 14 3/4 × 14 5/8 inches

Gala Porras-Kim
Leaving the institution through cremation is easier than as a result of a deaccession policy, 2021

Gala Porras-Kim
La Mojarra Stela, 2019
Graphite on paper, 3 parts
274.3 × 184.8 cm | 108 × 72 3/4 inches (each) (framed)

Installation view at the Whitney Biennial, 2019
Photo: Ron Amstutz

Gala Porras-Kim
La Mojarra Stela, 2019

Gala Porras-Kim
An accession traversing an ancient timeline, 2024
Graphite on paper
215.9 × 152.4 cm | 85 × 60 inches
219.1 × 156.1 cm | 86 1/4 × 61 1/2 inches (framed)

Gala Porras-Kim
An accession traversing an ancient timeline, 2024

Gala Porras-Kim
The Michael C. Rockefeller Wing at the Met 1982–2021 fragment, 2022
Residue collected from the de-install of the M.C.R. Wing at the Metropolitan Museum, binder
9.5 × 9.5 × 9.5 cm | 3 3/4 × 3 3/4 × 3 3/4 inches

Gala Porras-Kim
The Michael C. Rockefeller Wing at the Met 1982–2021 fragment, 2022
Details
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Current and Upcoming
In Minor Keys, 61st International Art Exhibition – La Biennale di Venezia, installation view, Arsenale, Sale d’Armi, Venice, 2026
Photo: Marco Zorzanello. Courtesy La Biennale di Venezia

Gala Porras-Kim
Applied Arts Pavilion, a special project of La Biennale di Venezia and the Victoria and Albert Museum, London
Arsenale, Sale d’Armi, Venice
Through November 22, 2026

Congratulations to Gala Porras-Kim who has been invited to the 61st International Art Exhibition of La Biennale di Venezia In Minor Keys by Koyo Kouoh.⁠ Gala Porras-Kim’s work will be on view at the Applied Arts Pavilion, a special project of La Biennale di Venezia and the Victoria and Albert Museum, London.⁠

As written by co-curator Gabe Beckhurst Feijoo, Porras-Kim’s project brings together drawings, sculptures and video that reflect her ongoing engagement with frameworks of conservation and the processes by which museum practitioners shape the meaning and function of heritage objects in both destructive and generative ways.

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Gala Porras-Kim
The Motion of an Alluvial Record
Museo de Arte Moderno de Medellín
September 9, 2026–March 28, 2027

The exhibition brings together a selection of recent projects that explore how museums, archives, and power structures shape the narratives constructed around cultural objects. Through a critical approach to the institutional logics that determine what is preserved, how preserved materials are interpreted, and how museographic narratives are developed and legitimized, the exhibition examines the mechanisms through which cultural meaning is produced and sustained. This is the first institutional exhibition in Colombia by Gala Porras-Kim, curated by Natalia Valencia.

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Gala Porras-Kim, Out of an instance of expiration comes a perennial showing, 2022–ongoing (detail)
Gala Porras-Kim, A recollection returns with a soft touch, 2024 (video still)

Gala Porras-Kim
A Recollection Returns with a Soft Touch
Museo della Civiltà Romana, Rome
Ongoing

A Recollection Returns with a Soft Touch is a new installation by multidisciplinary artist Gala Porras-Kim, with which she concludes her two-year research career as a Research Fellow at the Museo delle Civiltà and Artist in Residence at the MAO Museum of Oriental Art in Turin. The audio-video installation returns us to the intimate relationship between the objects in the collections and the people who care for them daily in the museum.

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Exhibitions at Sprüth Magers

10 Years LA!
May 15–August 15, 2026
Los Angeles

Monika Sprüth and Philomene Magers are pleased to present 10 Years LA!, an exhibition celebrating the gallery’s decade-long presence in Los Angeles. Since opening its doors in February 2016, the gallery has featured solo and group exhibitions debuting new works by its iconic LA-based artists as well as major installations by artists from around the world, often bringing their work to the city for the very first time. Illustrating this expansive approach, 10 Years LA! fills not only the 10,000 square feet of the gallery at 5900 Wilshire Boulevard with works by a wide cross-section of Sprüth Magers artists, but also extends to the former Sizzler restaurant at 6145 Wilshire with an installation focusing on film and video.

10 Years LA! features the work of, among others, Kenneth Anger, Richard Artschwager, John Baldessari, Bernd & Hilla Becher, Gretchen Bender, Cao Fei, George Condo, Hanne Darboven, Thomas Demand, Philip-Lorca diCorcia, Thea Djordjadze, Lucy Dodd, Peter Fischli David Weiss, Sylvie Fleury, Cyprien Gaillard, Gilbert & George, Andreas Gursky, Nancy Holt, Jenny Holzer, Gary Hume, Anne Imhof, Robert Irwin, Arthur Jafa, Craig Kauffman, Karen Kilimnik, Joseph Kosuth, Barbara Kruger, David Lamelas, Louise Lawler, Mire Lee, Anthony McCall, Robert Morris, Reinhard Mucha, Senga Nengudi, David Ostrowski, Otto Piene, Michail Pirgelis, Gala Porras-Kim, Stephen Prina, Jon Rafman, Bridget Riley, Pamela Rosenkranz, Sterling Ruby, Ed Ruscha, Analia Saban, David Salle, Thomas Scheibitz, Andreas Schulze, Cindy Sherman, Stephen Shore, Martine Syms, Ryan Trecartin, Rosemarie Trockel, Nora Turato, Kaari Upson, Kara Walker, John Waters, Andro Wekua, and Andrea Zittel.

Gala Porras-Kim
The categorical bind
June 4–July 26, 2025
London

Gala Porras-Kim’s research-driven practice examines how our understanding of cultural artefacts is shaped by the museological and modern epistemological conventions that dictate their collection, taxonomy, preservation and display. Monika Sprüth and Philomene Magers are pleased to present a solo exhibition featuring new and recent works by the artist on the occasion of London Gallery Weekend. Both visually striking and thought-provoking, Porras-Kim’s drawings, paper marbling works and sculpture explore the transformation—and possibly emancipation—of objects throughout time.

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territory
Mire Lee, Liu Yujia, Gala Porras-Kim, Tan Jing, Zhang Ruyi
April 27–July 27, 2024
Berlin

On the occasion of Gallery Weekend Berlin 2024, Monika Sprüth and Philomene Magers are pleased to present territory, a group show of works by Mire Lee, Liu Yujia, Gala Porras-Kim, Tan Jing, and Zhang Ruyi, curated by Shi-ne Oh. It will be Sprüth Magers’ first group exhibition focusing exclusively on female Asian artists. The title, territory, naturally associated with aggressive political policies and behaviours, questions the vast definitions of borders and boundaries and how they both limit and liberate our transgressive desires on physical as well as psychological terrain.

The five artists will transform all of the gallery’s spaces, premiering works that examine the bounds of the body, disgust and morality, and the restraints of language, history and memory. Diverse in media and approach, the artworks on view employ unpredictable materials to engage and challenge viewers’ senses.

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Press

An Alternative Proposal for the Life of Objects
ArtAsiaPacific, article by Valentina Buzzi, April 30, 2026

When Things Gall Apart for Whom? Gala Porras-Kim in Conversation with Lauren Cornell
Mousse Magazine, April 27, 2026

Sincerely, Gala Porras-Kim
Table Magazine, Pittsburgh, article by Emma Riva, March 13, 2025

Towards a New Museology
Frieze Magazine, article by Simon Wu, January 28, 2025

Unanchoring the Collection: Gala Porras-Kim’s Expansive Data Fields
Hyundai Artlab, article by Mira Dayal, December 5, 2024

Her Art Is at Odds With Museums, and Museums Can’t Get Enough
New York Times, article by Karen Rosenberg, April 5, 2024

See the Dripping, Gripping Work of Gala Porras-Kim at MCA Denver
The Denver Post, review by Ray Mark Rinaldi, March 25, 2024

How Gala Porras-Kim Honors Forgotten Afterlives of Ancient Objects in Museums
Korea Times, article by Park Han-sol, November 16, 2023

40 Under 40 USA 2023
Apollo Magazine, September 25, 2023

Artist Gala Porras-Kim Wants to Know: ‘Can a Museum Be a Cemetery? Or a Crate & Barrel?’
Los Angeles Times, review by Rob Goyanes, August 9, 2023

Biography

Gala Porras-Kim (*1984, Bogotá) lives and works in Los Angeles and London. The Colombian-Korean-American artist received her Master of Fine Arts from CalArts, Valencia, CA (2009). She was a Fellow at the Radcliffe Institute for Advanced Study at Harvard University, Cambridge (2019), an Artist in Residence at the Getty Research Institute, Los Angeles (2020–22) and a Fellow at the Museo delle Civiltà, Rome in collaboration with MAO – Museo d’Arte Orientale, Turin (2023–25). Her work has been exhibited at the 61st International Art Exhibition of La Biennale di Venezia (2026), Carnegie Museum of Art, Pittsburgh (2025), Museum of Contemporary Art Denver (2024), MoMA, New York (2023), Leeum Museum of Art, Seoul (2023), MMCA, Seoul (2023), MUAC, Mexico City (2023), Liverpool Biennial (2023), Gwangju Biennial (2021), São Paulo Art Biennial (2021), and Whitney Museum of American Art, New York (2019, 2017).

Education
2012 MA, Latin American Studies, University of California, Los Angeles
2009 MFA, Art, California Institute of the Arts, Valencia
2007 BA, Art and Latin American Studies, University of California, Los Angeles
Teaching
2022–Present Senior Critic, MFA Sculpture Department, Yale School of Art, New Haven, CT
Awards, Grants and Fellowships
2025 MacArthur Foundation Fellowship
United States Artists Fellowship
2024 William L. Metcalf Award, American Academy of Arts and Letters
Heinz Foundation Awards for the Arts
2023 Korea Art Prize Finalist
LACMA Art + Tech Lab Grant Recipients
Winner, Gold Art Prize
2022 Research Fellowship, Museo delle Civiltà, Rome, developed in collaboration with MAO – Museo d’Arte Orientale, Turin
2021 Metro Art Commission, Los Angeles
International Resident, Delfina Foundation, London
2020 Artist-in-Residence, Getty Research Institute, Los Angeles
2019 Thomas Silliman Vanguard Award
Radcliffe Institute for Advanced Studies Fellowship, Harvard University, Cambridge, MA
La Tallera Residency, Proyecto Siqueiros, Cuernavaca, Mexico
The Harbor Residency, San Juan, Puerto Rico
Art Matters Foundation Award
Future Generation Art Prize, Shortlist
2018 Headlands Center for the Arts Residency, Headlands, CA
2017 Rema Hort Mann Foundation Award
Artadia Los Angeles Award
2016 Artist-in-Residence, Fundación Casa Wabi, Oaxaca, Mexico
Joan Mitchell Foundation Award
30th Ateliers Internationaux Residency FRAC Pays de la Loire, France
Careyes Foundation Residency, Careyes, Mexico
2015 Louis Comfort Tiffany Foundation Award
Creative Capital Grant
Triangle France Residency, Marseille
2013 California Community Foundation Fellowship
2010 Summer Residency, Skowhegan School of Painting and Sculpture, Skowhegan, ME
Lectures, Conferences and Symposia (selected)
2025 Artist Lecture, Stanford Arts Institute, Stanford, CA
2024 Visiting Faculty Artist Lecture, Skowhegan School of Painting and Sculpture, Skowhegan, ME
2023 Film Screening and Conversation, Getty Conservation Institute, Los Angeles
Artist Talk, Society for Contemporary Art, Art Institute Chicago, IL
2022 Lecturer, UCLA Department of World Arts and Cultures, Los Angeles
Symposium, Tate Modern, London
Artist Lecture, Getty Research Institute, Los Angeles
2019 Artist Talk, Radcliffe Institute for Advanced Studies at Harvard University, Cambridge, MA
2018 Symposium, Guggenheim Museum of Art, New York
Visiting Faculty, UCLA Department of Art, Los Angeles
Public Collections
Amorepacific Museum of Art, Seoul
Brooklyn Museum, New York
By Art Matters, Hangzhou
Carnegie Museum of Art, Pittsburgh
Cc Art Foundation, Shanghai
Dallas Museum of Art, Texas
DePaul Art Museum, Chicago
Fonds régional d'art contemporain des Pays de la Loire, Carquefou
Hammer Museum, Los Angeles
Kadist Art Foundation
Leeum Museum of Art, Seoul
Los Angeles County Museum of Art
Mohn Art Collective: Hammer, LACMA, MOCA (MAC3), Los Angeles
Museum of Contemporary Art Chicago
Museum of Contemporary Art, Los Angeles
Museum of Modern Art, New York
Pérez Art Museum Miami
Seoul Museum of Art
Tanoto Art Foundation, Singapore
Tate, London
University of Richmond Museums, Virginia
Walker Art Center, Minneapolis
Whitney Museum of American Art, New York