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

Gabriel RICO

Gabriel Rico’s work is characterized by the interrelation of seemingly disparate objects. A self-proclaimed “ontologist with a heuristic methodology,” Rico pairs found, collected, and manufactured materials to create sculptures that invite viewers to reflect on the relationship between humans and our natural environment. He frequently uses neon, taxidermy, ceramics, branches, and more personal pieces of his past to create an equation or formulation, achieving a precise geometry despite the organic, roughly hewn character of his materials. His installations ironically and poetically combine natural and unnatural forms, insisting on a necessary contemplation of their asymmetry as well as our own cultural and political flaws. 


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

solo shows

- Institute of Contemporary Art, San Diego, CA (forthcoming)
- Of beauty and consolation, Perrotin, New York, NY
- I may use an electric drill, but I also use a hammer, Gallería OMR, México City, Mexico

- Nature Loves to Hide, Perrotin, Paris, France

- The Stone, the Branch and the Golden Geometry, Perrotin, Seoul, South Korea
- The Discipline of the Cave, Aspen Art Museum, curated by Heidi Zuckerman, Aspen, CO

- One Law for the Lion & Ox is Opression, Perrotin, New York 
- PROXIMIDAD (Gabriel Rico and Jeffrey Gibbons), Cerámica Suro, Guadalajara, Mexico; The Power Station, Dallas, TX
- DEAD DEAD LIVE DEAD, curated by Julio Morales, ASU Art Museum, Phoenix, Arizona

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

- B @ V, Ex Convento del Carmen, Guadalajara, Mexico
- ZEA MAYS, curated by Vivana Kuri, MAZ Museo de Arte de Zapopan, Zapopan, Mexico

- 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

- B @ V, CEART Centro de arte Tomas y Valiente, Madrid, Spain
- B @ V, curated by Guillermo Santamarina and Itala Schmelz, MASIN (Sinaloa Museum of Art), Culiacan, Mexico

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

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

- 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
- Paisajes Universales No.5, curated by Abraham Cruz Villegas, Wall project at Café Benito Sala Juárez, LARVA, Guadalajara, Mexico

group shows

- Fiction, Fabulation, Futurity, University of Hartford Art Galleries, Hartford, CT (forthcoming)

- Recover / Uncover, MASA Galería, Mexico City, Mexico 
- Take me to, Max Goelitz, Munich, Germany
- Momentum, Museum Voorlinden, Wassenaar, the Netherlands
- The Quintessence of Consciusness’, Curated by Degard, The Royal College of Art, South Kensigton, London, United Kingdom
- Instantánea 2020, Curated by Geovana Ibarra and organized by Rayo de Jalisco, Antigua Fábrica KODAK, Zapopan, Mexico
- XIV Bienal FEMSA. Centro Cultural Antiguo Colegio Jesuita, Pátzcuaro, Mexico

- No Church in the Wild, Curated by Hiram Constantino, Otro Espacio, Guadalajara, Mexico
- Doble Filo: Geografias y Palabras, curated by Felix Suazo, Coral Gables Museum, Coral Gables, Florida
- Flora/Fauna, curated by Calli Moore, Josée Bienvenu Gallery, New York, New York
- May You Live In Interesting Times, 58th Venice Biennale, curated by Ralph Rugoff, Venice, Italy 
- Golden Hour, curated by Ingrid Brochard, Le Musée Mobile Nouvelle Génération (MuMO), Lille, France 
- Room for Failure, curated by Omar López-Chahoud, Piero Atchugarry Gallery, Miami, Florida
- Presque Rien, curated by Marie-Paule De Vil & Peter De Meyer, Geukens & De VIl Gallery, Antwepen & Knokke, Belgium
- Nature Morte / Nature Vivante, Centre d'Innovation et de Design au Gran Horny, Belgium 
- Estar Vivo é o Contrário de Estar Morto, Curated by Guilherme Blanc and Luísa Saraiva, Galeria Municipal do Porto, Portugal 
- The Unbearable Impermanence of Things, Curated by Libby Barbee, Vicki Myhren Gallery, Denver, Colorado, USA
- BUSCH Magazine first edition, Berlin Avus Tribüne, Berlin, Germany
- Good Moves, The Power Station, Dallas, Texas, USA 

- Unstable Stillness, Perrotin, Hong Kong, China
- CONFIGURATIONS, curated by Claudia Paetzold, IKLAB, Tulum, Mexico 
- Cycles of Collapsing Progress, curated by Karina El Helou and Anissa Touati, Rashid Karami International, Tripoli, Lebanon
- Mrs. Spring Fragrance, COMA Gallery, Sydney, Australia
- Almost Solid Light: New Work From Mexico, curated by Mario Navarro, Paul Kasmin Gallery, New York, New York
- Le Sud BB, curated by Anissa Touati, Hangar J1, Marseille, France 
- Rooftop Playground, selection by Constance Breton and Michael Fuchs Gallery, Berlin, Germany
- Supersimetrica, Matadero, Madrid, Spain

- Vecinos, CULT | Aimee Friberg Exhibitions, San Francisco, California
- Kitchen Debate, curated by Paulina Ascencio, Rawson Projects, New York, New York
- Chingaderas Sofisticadas, curated by Esthella Provas and Samantha Glaser, Kohn Gallery, Los Angeles, California
- Coalescence, curated by Ericka Hirugami, Curator Love, Los Angelas, EUA
- 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

- 52 Paisaje recientes, 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, an Abraham Cruzvillegas Project, MAZ Museum, Zapopan, Mexico.

- 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
- Sure, Baby, Mañana, curated by Paulina Ascencio, Arte Careyes, Costa Careyes, Mexico
- Artesano / Artista 3.0, CECUT, Tijuana, Mexico

- Artesano / Artista 3.0, Museum Reyes Meza, Nuevo Laredo, Mexico
- Artesano / Artista 3.0, Museum Caja Real, San Luis Potosí, Mexico
- Leviatán, Museo de Arte Raúl Anguiano (MURA), Guadalajara, Mexico
- Presentando lo irrepresentable, Curro y Poncho, Guadalajara, Mexico

- Artesano / Artista 3.0, curated by Walther Boelsterly, Museum of Popular Arts (MAP), Mexico City, Mexico
- Coup de Ville - Attracted by another level, curated by Stef Van Bellingen, St. Nikklas, Belgium
- Festival de Arte Careyes, curated by Humberto Moro, Galerie La Brignonesca, Mexico
- Tinnitus & fosenos, curated by Viviana Kuri and Carlos Ashida, MAZ Museum of Art Zapopan, Guadalajara, Mexico

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

- Compilación del archivo bastardo, La Galería del Comercio, Mexico City, Mexico
- Don & Látigo, Sala Juarez, LARVA en Guadalajara, Mexico
- Shadowing cities, curated by Fiona Weir and Ans Kanen, Ruimte in beweging, Rotterdam, Netherlands.
- Lightworks, Grimsby Minster, London, United Kingdom.
- Grange Gardens Sculpture Project, GALERIE 8, London, United Kingdom.

- Tenemos tanto tiempo y tan poco que hacer, CAM, Zapopan, Mexico.
- Totem, Tree amigos, Abarrotera Mexicano, Guadalajara, Mexico

- Firulais, curated by Cirstián Silva, Museo de la Ciudad, Guadalajara, Mexico
- Matemática discretas, Tree amigos, Av. Vallarta 1835 Int.2, Guadalajara, Mexico
- Las mujeres de mi padre, curated by Cristián Silva, Museo Raúl Anguiano, Guadalajara, Mexico
- Dios, Tree amigos, Chapultepec 70 depto. 10, Guadalajara, Mexico

- Mexican Modern Art, University of Guanajuato, Mexico
- Sindicato de Hong Kong, curated by Jorge Méndez Blake, Segundo Piso, Guadalajara, Mexico
- Mashbank, Tree Amigos, Simon Bolivar 1680, Guadalajara, Mexico

- Xoconoxtle, Proyecto liga, Guadalajara, Mexico
- Quadrophoniadelayentropicjaicu, Tree amigos, Panteón de Belén,, Guadalajara, Mexico

- Siete en la mira, La casa de la Tía Tina, Mexicali, Mexico
- IX Salón de la Hipermodernidad, Museo de Arte Contemporáneo, Guadalajara, Mexico
- Tree amigos presenta, Gallery teu Lloc, Guadalajara, Mexico
- Lo-tec, Galerry Haus der Kunst, Guadalajara, Mexico
- Natural born killer, Taller colectivo G, Guadalajara, Mexico
- Turista, Interventions to the city, Puerto Vallarta, Mexico

- Invocarte 04, within the activities of the Festival Cervantino at Guanajuato, Mexico

public collections

Arizona Art Museum (ASU), Phoenix, AZ, USA
ArtNexus Foundation, Colombia & USA 
FMC (Frans Mesereel Centrum), Kasterlee, Belgium
Korean Ceramic Fundation (KOCEF), Seoul, South Korea
MASIN (Museo de Arte de Sinaloa), Culiacan, Mexico
The Nasher Sculpture Center, Dallas, Texas, USA
Pérez Art Museum Miami (PAMM), Miami, Florida, USA 
Taguchi Art Collection, Japan
Voorlinden Museum, Wassenaar, Netherlands


- BAR Beirut Art Residency, Lebanon
- ASU Art Museum & CALA Alliance, Pheonix, Arizona

- 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

- 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

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

- 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

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

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


- IKLab, Tulum, Mexico
- Lecture with Roland McCook, President of the Native American Cultural Programs, Aspen Art Museum, USA

- T’s Talk, The University of Hong Kong, Hong Kong
- The Battery, San Francisco, CA, USA

- Sursock Museum, Beirut, Lebanon
- Gallery Perrotin in conversation with Julio Morales, EUA
- Parsons The New School for Arts, USA
- ASU Arizona Art Museum, USA
- MAZ Zapopan Art Museum, Mexico

- Arts University of Aguascalientes, Mexico
- Flora Arts + Natura, Colombia

- WARP Contemporary Art Platform, Belgium

- Laboratorio Jorge Martínez, Mexico
- Seoul Art Space Geumcheong, South Korea

  • June 2021
    Wallpaper — 1 PAGE

  • June 2021
    Metal Magazine — 4 PAGES

  • May 2021
    Interview Magazine — 9 PAGES

  • April 2021
    Vogue Mexico — 3 PAGES

  • July 2020
    Monthly Art — 3 PAGES


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.

Artist Statement

My work is developed in the zone where an idea materializes and crisscrosses with another´s in the interobjective configuration of the space. I try to create pieces that fragment the composition of contemporary human being and evidencing the geometric imperfection in the nature using the gedankenexperiments like beginning. 

I have 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 a believer in matter, 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 continue the development of my investigation in areas such as knowledge materializations & the fragility of space. My work is a reflection on the nature of the pieces from the materials used to produce them and their arrangement in the final composition.




Gabriel RICO

Gabriel Rico "One Law for The Lion & Ox is Oppression", Perrotin New York

Gabriel Rico "One Law for The Lion & Ox is...

Gabriel RICO



Talk between Gabriel Rico and curator Julio Cesar Morales on the occasion of the exhibition "One Law for The Lion and Ox is Oppression" at Perrotin New York Thursday November 23, 2017