Born in 1980 in Lagos de Moreno, Mexico
Lives and works in Guadalajara, Mexico

Gabriel RICO

education

1999 - 2004
- ITESO (Instituto Tecnológico de Estudios Superiores de Occidente), Guadalajara, Mexico, BA in Architecture

solo shows

2017
- DEAD DEAD LIVE DEAD, curated by Julio Morales, ASU Art Museum, Phoenix, Arizona

2016.
- VIS VIVA, Gyeonggi Creation Center, Ansan-do, South Korea


2015
- B @ V, Ex Convento del Carmen, Guadalajara, Mexico
- ZEA MAYS, MAZ Zapopan Art Museum, Zapopan, Mexico

2014
- CREATIO EX MATERIA, Gallery Cuadro22, Chur, Switzerland
- B @ V, Ex Escuela de Cristo, Aguascalientes, Mexico
- La Cuchara & El Ladrillo, Public libraries Virgilio Barco & El Tintal, Bogota, Colombia
- SUPERPOCICION, The museum of the city, Guadalajara, Mexico

2013
- B @ V, CEART Centro de arte Tomas y Valiente, Madrid, Spain
- B @ V, MASIN (Sinaloa Museum of Art), Culiacan, Mexico

2012
- Lo que me da forma... Lo que me contiene, Curro & Poncho Gallery, Guadalajara, Mexico

2011
- Elevando el espacio a la dignidad de atributo de Dios, Gallery Jesus Gallardo at the University of Guanajuato, Mexico

2010
- Todas las formas de arte en una misma entidad, La Vitrina, Guadalajara, Mexico
- Dela IM, Laboratorio CV930, Museum of Arts at the University of Guadalajara, Guadalajara, Mexico

group shows

2017
- Art Laguna Prize, Nappe Arsenale, Venice, Italy
- [the QUEENS falls, curated by Anissa Touati and Marc-Olivier Wahler, Galeria OMR, Mexico City, Mexico
- DIY Fiction, curated by Jeovana Ibarra, Arte Careyes, Costa Careyes, Mexico

2016
- 52 Paisaje reciente, curated by Paulina Ascencio, Calosa Foundation, Irapuato, Mexico
- ¿Como te voy a olvidar?, curated by Peggy Leboeuf and Anissa Touati, Galerie Perrotin, Paris, France
- The Spring Exhibition 2016, Charlottenborg Fonden, Copenhagen, Denmark
Fine words butter no parsnips however fine parsnips can butter words, curated by Alejandro Almanza, Present Co., New York, New York
- Reconstrucción , MAZ Museum, Zapopan, Mexico.

2015
- The Empty Fox Hole, Hisk, Gent, Belgium
- Fall Out, Whitdel Arts, Detroit, Michigan
- 8th Gyeonggi International Ceramic Biennale , Korea Ceramic Foundation, Seoul, South Korea
- Map of the New Art, Fundazione Giorgio Cini, Venice, Italy


2014
- Leviatán, Museo de Arte Raúl Anguiano (MURA), Guadalajara, Mexico
- Presentando lo irrepresentable, Curro y Poncho, Guadalajara, Mexico

2013
- Artesano 3.0, curated by Walther Boelsterly, Museum of Popular Arts (MAP), Mexico City, Mexico
- Coup the Ville - Attracted by another level, curated by Stef Van Bellingen, St. Nikklas, Belgium.


2012
- Manifest Aanwezig, Castle Aspremont-Lynden , Oud Rekem, Belgium.
- Play panopticon, SASG (Seoul Art Space Geumcheon), Seoul, Korea, Republic Of.

2011
- Shadowing cities, Ruimte in beweging, Rotterdam, Netherlands.
- lightworks, Grimsby Minster, London, United Kingdom.
- Grange Gardens Sculpture Project, GALERIE 8, London, United Kingdom.

2010
- Tenemos tanto tiempo y tan poco que hacer, CAM, Zapopan, Mexico.

public collection

- Korean Ceramic Fundation (KOCEF), Seoul, Korea
- ArtNexus Fundation, Bogota, Colombia
- Private collection Charpenel, Mexico city and Guadalajara, Mexico
- Associated collection Centro de Arte Tomas & Valiente/Museo Nacional Reina Sofia., Madrid, Spain
- Private collection of FMC (Frans Mesereel Centrum), Kasterlee, Belgium
- Public collection of MASIN (museo de arte de Sinaloa), Culiacan, Mexico

awards

2015
- Young creators anual fellowship PECDA, (Fondo Estatal para la Cultura & las Artes), Jalisco, Mexico
- Annual program of residencies for international artist 2015/2016, Gyeonggi Creation Center, Seoul, Korea

2014
- Bursary for artists, The Ténot Fondation , France
- Proyecta 2014, award for production, Secretary of Culture of the state of Jalisco, Mexico
- Annual residency program for artistic research and production. 2014, Marnay Art, Science & Technology Center (CAMAC) & Ténot Fundation, Marnay sur Seine, France
- Binational Artist Residencies Program 2014, National Fund for Culture and the Arts (FONCA) Mexico & the Ministry of Culture of Colombia., Bogota, Colombia

2013
- Annual Research Residency Program @, Frans Mesereel Centrum., Kasterlee, Belgium

2012
- DMZ Intaernational Peace Residency., Dongguk University, The border area near the DMZ Cheorwon-gun, Gangwon-do., Korea, Republic Of
- Annual residency program of the SASG. 2012, Seoul Art Space Geumcheon, Seoul, Republic Of Korea

2011
- Suport program for production -Anual Award- Prince Claus Foundation, Amsterdam, Netherlands

2010
- Young creators anual fellowship, FECA (Fondo Estatal para la Cultura & las Artes), Jalisco, Mexico
- Artis Village , WARP contemporary art plataform, St. Nikklass, Belgium

Memberships

2014 - Present
- ATP (Artist Pension Trust), New York, United States

DEAD, DEAD, LIVE, DEAD

by Julio Cesar Morales (ASU Art Museum)

A small stream of ants emerge from inside a man’s hand in the 1929 epic Surrealist film, Un Chien Andalou, by filmmaker Luis Buñuel and artist Salvador Dali. Buñuel was an amateur entomologist, but he was most interested in our social behavior and poetic encounters with nature. The classic film scene symbolized corruption and loss and foreshadowed the death of the main protagonist in the film. Indeed, throughout the film, bizarre animals and insects appear, such as dead donkeys on pianos, a sea urchin and a death-head moth. The film’s use of randomness, chance and anarchy reflected the cultural climate and rise of fascism in Europe during that era.

With a post-Surrealist approach, artist Gabriel Rico’s latest body of work mines a range of materials, from taxidermy animals and preserved insects to neon shapes and found natural objects, that together create environments addressing the relationship between nature, architecture and the future ruins of civilization. Looking at the behaviors and survival techniques of insects, such as the preying mantis, and animals like the South American fox, he creates settings that reveal complexities of the current human condition. The juxtaposition of diverse life forms infuses the objects with a humor and irony, reflective of the common struggle to attain equilibrium amidst the everyday challenges of life.

The title of the exhibition, DEAD, DEAD, LIVE, DEAD, refers to research methods developed by Katherine Pigg, ASU Life Sciences research scholar and rock star in the field of fossils, who deciphers ancient fossils and connects them to living organisms. As she explains, her primary job is to “find the living amongst the dead,” visually connecting contemporary plants or life to dead fossils.

Playing with the ideas of balance, connection and uncertainty, Rico’s work reflects the notion of an “inferior mirage.” He considers the exhibition as a mirage, not in the cliché way we often see in movies or novels, but rather the more intense and immediate human experience of crossing the desert. An immigrant’s journey through a vast desert with unbearable obstacles often leads to a mirage in the same way that the ants in Un Chien Andalou serve as an omen, predicting if you will live or you will die.




by Oh Se-won (General Manager, Craft & Design Promotion Division of the Cultural Station 284 in Seoul)

Gabriel Rico Jiménez thinks of historical, cultural contexts, in a physical space where artworks are installed. His artistry touches common esthetical sentiments by delving into the contexts through reflective acts by introducing usual objects in an expected, sensual way.(in case of installations in the same specific places as Estado or Elevando el espacio a la dignidad de atributo de Dios) Such course is preceded by his artistic interpretation of ‘common’ ideas, leading to communication whereby receivers are naturally invited, lingering in front of uneasy artworks. Combined with ordinary articles and acts, resulting traces are his messages. His work is currently in much progress, assisted by his attention paid to anatomizing various contexts with various media. Characteristically, his work activities are never separated from his routine life. He does not pass by abandoned, trivial things at hand, only to think about illusions and surplus falsehood from capitalism, as individual resistance against them as well as ideological preferences. His defying practices feature his unique analysis of sentiments that is attributed to his unusual experiences. He felt regretful due to the lack of sincere communication under specific circumstances.


I try to create pieces that fragment the composition of contemporary human and evidencing the geometric imperfection using the gedankenexperiments like beginning. Having always been fascinated with the philosophical analogies and scientific disciplines, my work has been influenced by the sciences that study  the form and the space, I consider myself an ontologist with a heuristic methodology, sometimes I using technology tools and scientific models as metaphors for collective memory. I use deconstruction and re contextualization as methods to ensure the representation and development in areas such as knowledge materializations, the fragility of space, the exploration of the audio-visual terms and the origin of information, my work is to refer a reflection about the nature of the pieces from the order they possess,  the materials used to make them and the place where they are presented.