Caracas, Veneçuela, 1962
Resident of tallerBDN from March to April 2011
He has a Degree in Fine Art from the University of Texas at El Paso (1993). A Master’s in Fine Art, California Institute of The Arts, Los Angeles, California (1995). He has organised individual exhibitions such as Love Without Contact. Gallery mpUntitled. Dallas, Texas (1998); Continuum 07: American Psycho. Angelika Film Center. New York (2000); Circuit. Washington Square Church. New York (2000); 50 Ideas in Search of a Brand. FAD. Barcelona (2002); Orangesausage. Galería Mi Brazo Izquierdo. Barcelona (2002); Swallow. Experimentem l’Art. Barcelona (2008); Ruben Verdu: Love Without Contac. Stanlee and Gerald Rubin Center for the Visual Arts. El Paso, Texas (2009). He has taken part in numerous collective exhibitions too; Other Worlds. Belle Gallery. New York (2000); Merch & Promo. Centre d’Art Santa Mònica. Barcelona (2006); River of Crime: oh! Toni. MoMA. New York (2006); Maxima Immoralia. Scope. Miami (2010); Heir Today. Gone Tomorrow. MACC Mexican American Cultural Center. Austin, Texas (2011), among others.
“The best part of Solvitur ambulando is that of the movement of the spinning top which uses up a huge amount of energy to keep its dance balanced. The spinning top is a kind of zombie; its resurrection entails a bellyful of life and calls for a constant consumption of care and attention. This exertion implies complete recovery, souvenir and return of the inanimate. It is the answer of Diogenes and his cynicism to the academy’s rigor mortis and the revival of moribund logos. Within the symbolic economy, only the tropes, little else, bring the system to life. Culture’s vocation and necrophilic framework, more than intuition, is proof of this endeavour to recover relevance and meaning which, like a bokor, takes possession of a proliferation of inanimate waste to give it this frenzied impulse making it rise again whenever necessary.” (Rubén Verdú)