Javier Barrios (b. 1989) was born in Guadalajara, Jalisco, and currently lives and works in Mexico City. Barrios investigates the power and social structures that mediate contemporary society, and he has a particular interest in modes of exchange and distribution, both as they apply to the economy and to the trafficking of information, ideas, and images. Through his meticulously executed pencil drawings, mixed media prints, as well as his diverse installations and sculptures, he examines the excesses and inequalities that he sees as inherent to capitalism, exploring issues of environmental degradation, unsustainable systems of production, and the seemingly inexorable homogenization and corporatization of the world around us. He frequently incorporates references to the history, culture, and traditions of Mexico into his work, making his critique both more specific and more pointed. Barrios is also interested in notions of resistance, in the ways in which the fringe pushes against the mainstream and how small acts of defiance can generate the collective force needed to affect change. In addition to his work as an artist, Barrios also runs the independent editorial project Ediciones Barrio Boy’z, which he founded in 2012 and in which he publishes his work and collaborations with other artists.
Educational Program SOMA, Mexico
B.A. SCJ Visual Arts Orientation, Mexico
CURRENT AND UPCOMING
CASA WABI, Oaxaca, Mexico
Huerta a Cuadros
, Indoor LADRÓN Gallery, Mexico City
Sillas plegables y flores
, Páramo, Guadalajara, Mexico
Maquina de vapor
, Bikini Wax, Mexico City
Habitación de oro
, Diéresis, Guadalajara, Mexico
Améxica: Ciudad amurallada
, Alianza Francesa de Guadalajara, Guadalajara, Mexico
Bodega ACME, Salón ACME 7th edition, Mexico City
Páramo | GNP ArteCareyes Film & Art Festival, Careyes, Mexico
Cómo diluir el territorio
, curated by Viviana Martínez, La No Bienal 2nd edition, San Jose, Costa Rica
, Páramo | 127, New York, USA
, curated by Paulina Ascencio, Regina Rex, Rawson Projects, New York, USA
ProyectosLA: “Here the border is you”
, curated by Luiza Teixeira de Freitas y and Claudia Segura, Los Angeles, USA
s, in collaboration with Joaquín Segura, curated by Paulina Ascencio, Fundación CALOSA Irapuato, Mexico
Segunda Gran Bienal Tropical, project by Pablo León de la Barra Loíza, Puerto Rico
Políticas del polvo
, curated by Anuar Maauad, Galería Emma Molina, Monterrey, Mexico
Reconstrucción, un proyecto de Abraham Cruzvillegas
, curated by Viviana Kuri, Museo de Arte de Zapopan (MAZ), Zapopan, Mexico
, curated by Meaghan Kent, Páramo, Guadalajara, Mexico
Testigo del siglo
, curated by Viviana Kuri and Humberto Moro, Museo de Arte de Zapopan (MAZ), Zapopan, Mexico
Bienal Universitaria de Arte y Diseño, Academia de San Carlos, Mexico City
Sin necesidad de profecías
, curated by Humberto Moro, Diéresis, Guadalajara, Mexico
, curated by Miriam Novóa and Samantha Cendejas, Guadalajara, Mexico
CASA WABI, Oaxaca, Mexico
The International Studio & Curatorial Program (ISCP), New York, USA (August-October)
Hotel el Ganzo, San José del Cabo, Mexico (June)
AWARDS AND GRANTS
Selected artist, Primera Bienal de Arte y Diseño de la Universidad Nacional Autónoma de México UNAM, Academia de San Carlos, Mexico City
Guest artist, Maratón de las Américas 89Plus: Autoconstrucción, curated by Hans Ulrich Obrist and Simon Castets, Museo Jumex, Mexico City
Diéresis Collection, Guadalajara, Mexico
GAIA Collection, Mexico
Isabel and Agustín Coppel Collection, Mexico
¿Quiénes son las 10 nuevas promesas del arte en México? 10 curadores opinan | Parte 1
, Revista Código, March 26, 2019.
Quiroz, Marcela. Javier Barrios and Joaquin Segura
. Artforum, pg 217, December 2017.
Reconstrucción: Un proyecto de Abraham Cruzvillegas
. Museo de Arte de Zapopan: Zapopan, Jalisco, 2017 (Exhibition Catalogue).
Arte y Trabajo BWEPS. Sentir OXXO/ Una revisión del uso de la tienda en la producción visual en México
. Campo de relámpagos, 2017.
Barrios, Javier. De vuelta en Utopía
. A, The Style Guide, June 2017.
Marcial Pérez, David. Arte para reclamar la Antártida
. EL PAÍS, February 2017.