Enrique Rosas

(Mexico, 1972)

Enrique is an artist currently exploring certain traditions of ancient knowledge with the possibilities that 21st-century technology offers. An important part of his processes entangles the establishment of feedback between sundry disciplines and experiences. His work hinges on juxtaposition or conjunction of opposites: the observer and the observed, the individual and the collective, the natural and the constructed, the micro and the macro, etc. It is a quest in which each element is studied from a semiotic perspective: a language that functions not only as interpretation but also as production of meaning,

Le Laboratoire gallery arranged the artist’s first solo showing in Mexico, Sell Your Money, for the 2013 edition of Gallery Weekend Mexico. He has also shown his work in the 2014, 2015 and 2016 Zona MACO contemporary art fairs.

Rosas has won the Reserva de la Familia Collection Prize, 2015 edition, which was bestowed upon him in October 2014 in Mexico City’s Jumex museum. He offered his first solo show in a Mexican museum, Altered States of Conscience, at the Carrillo Gil contemporary art museum from November 2014 thru January 2015. His work takes part of the José Cuervo collection and the Fundación Televisa collection, among many others.

From research work that trascends the scholarly, arise multiple exaltations of the intellectual state, manifesting themselves in cyclical and incisive ideas that guide Rosas through a whirlpool of knowledge. A persistent exhortation to the unconscious, suspended in a cathartic state of unbeing through an alteration process.

An opening, a void. The human being is constituted by a fracture, essentially divided as he or she is; it is established through need, and endeavors to fill the voids that are the proper of the unconscious. Imagination accomplishes that goal; through creation and invention, the eternal task of establishing links to its own image takes place. A relationship of alienatable tension, a circulatory process that embodies the secret of raw materials whose undisputable origin is the same root as Man’s unconscious.

It is thus that Rosas stands in a recurring state of re-ection, and it is precisely an alterate state of consciousness that forces him to transgress the limits of creation, dragging them to the point of their implementation in technical and technological processes. The result? Machinic elements of assembly and correlation, of entity, subjectivity and interaction.

– Paula Duarte, Carrillo Gil museum

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