Andrew Roberts (b. 1995, Tijuana) has built his practice across gameplay, roleplay and worldbuilding, creating multi-platform narratives that materialize through digital animations, objects and poetry. Mining the history of monsters and the material dimension of horror, he is primarily concerned with representation systems, death as a form of labor and the haunting relationship between Mexico and the United States of America.
Full bio Email me
Protean Silicone Matter2023
Protean Silicone Matter
Pequod Co., Art Basel Miami Beach
View more
Haunted Silicone Matter
Pequod Co., Art Basel Miami Beach
View more
Tank2023
Tank
Pequod Co., Mexico City
View more
Necromancer2022
Necromancer (Vanitas)
House of Chappaz, Barcelona
View more
Necromancer (Mining Mana)
House of Chappaz, Valencia
View more
A hourse on fire is a ghost, a factory on fire is a specter2022
A house on fire is a ghost, a factory on fire is a specter
Best Practice, San Diego
View more
The Harvest2021
The Harvest (Pilot Episode)
Collaboration with Mauricio Muñoz
Delaplane, San Francisco
View more
The Harvest
Collaboration with Mauricio Muñoz
Delaplane, San Francisco
View more
We are sorry to notify you that due to the end of the world...2020
La Horda (The Horde)
Pequod Co., Mexico City
View more
CARGO
Pequod Co., Mexico City
View more
Undead
Pequod Co., Mexico City
View more
Isla, dinos tu nombre (Island, tell us your name)2019
Isla, dinos tu nombre
Roca, Isla, Glaciar, Museo Jumex, Mexico City
View more
Towards Electromateriality2018
Towards Electromateriality
Ficción y tiempo, Centro Cultural Universitario Tlatelolco
View more
Towards Electromateriality
Ficción y tiempo, Centro Cultural Universitario Tlatelolco
View more
Sunrise Corporation2017
Brief History of the Sun
Centro Cultural Tijuana
View more
The Complex
Centro Cultural Tijuana
View more
Sunrise Corporation Headquarters
Centro Cultural Tijuana
View more
We are sorry to notify you that due to the end of the world your packagePequod Co., Mexico City
11/30/22 — 05/18/23
La Horda (The Horde), 2020, eight-channel 4K CGI video, color, sound; each channel approx. 3–4 min.
Videos available at www.vimeo.com/showcase/8325526
Installation view at the Whitney Biennial 2022: Quiet as It's Kept, Whitney Museum, New York City, 2022
Installation view at AMEXICA, Institut Culturel du Mexique in Paris, 2023
In 1989, Nintendo revolutionized the video game industry by offering a portable 8-bit gaming experience. Game Boy was the first handheld device that freed players from arcades and family home setups, becoming the quintessential object of desire for kids in the ’90s. In Mexico, the high demand for video game devices combined with the elevated cost of imported goods before (and even, after) NAFTA gave place to a prolific market of piracy gaming, including low-cost bootleg imitations, hacked consoles, and a myriad of unlicensed copies sold through informal trade across the country. Today, Mexico consumes more video games than any other country in Latin America.
The same year Game Boy was launched in North America, a long-term joint effort between Mexican and US authorities led to the arrest of Miguel Ángel Félix Gallardo, founder and leader of the presumed Cartel de Guadalajara. His arrest marked the dissolution of the first Mexican criminal organization dedicated exclusively to drug trafficking and the disbandment of an alleged alliance made between the most powerful drug lords at the time. The separation of this coalition allowed for the consolidation of situated organizations working independently—and oftentimes, in opposition—from each other. The border towns of Northern Mexico became the theater of operations for the activities of vicious groups that identified themselves by geography and blood-bath-filled origin myths. The Cartel de Tijuana was one of them. At the end of the ’90s and early ’00s, even with Game Boys or bootleg handheld devices, kids would rather game from home to avoid the crossfire of the criminal organizations that violently disputed the most coveted border-crossing points.
Artist Andrew Roberts traces these events as part of his aesthetic genealogy, profiling an artistic language particular to a late-millennial growing up between Tijuana and San Diego. First as a player, then as an artist, Roberts is familiar with the narrative potential of video game design. Amidst on-screen zombie-shooting and bloodshed on the streets, survival horror means protecting yourself from everyday mayhem without the infinite ammo reserves offered in the virtual realm. When the footage on the news and shooter video games look very much alike, what else is left to do than to choose a character?
The installation of the video component of the exhibition We are sorry to notify you that due to the end of the world your delivery has been delayed (2020) resembles a character selection screen. Presented as 4K video portraits, Roberts introduces eight zombie characters in workwear, affiliating them to transnational companies like Amazon, Walmart, and Netflix. In a chorus of voices with perfect diction, each of them shares their own —almost premonitory, somehow philosophical— expectations for the end of the world. Unlike the narratives that approach the figure of the living dead from the mechanisms of othering, this group of zombies turns out to be very relatable. Not able to escape the logics of late-capitalism, they had become labor machines driven by Apocalyptic fantasies. And, like most of us, they are working themselves to death.
Excerpt from a text by Paulina Ascencio Fuentes for CURA
Undead, 2020, performance, tattoos on silicone mask and sleeves, VR headset and video game console
CARGO: a certain doom, 2020, tattoos on pigmented silicone, 20 × 40 × 15 cm (7 3⁄4 × 15 3⁄4 × 6 in)
REANIMATOR: days gone bye, 2020, tattoos on pigmented silicone, 35 × 50 × 20 cm (13 3⁄4 × 19 1⁄2 × 7 3⁄4 in)
PET SEMATARY: the heart's desire, 2020, tattoos on pigmented silicone, 48 × 35 × 10 cm (19 × 13 3⁄4 × 4 in)
EXHUMED: miles behind us, 2020, tattoos on pigmented silicone, 35 × 30 × 28 cm (13 3⁄4 × 11 3⁄4 × 11 in)
BRAINDEAD: what comes after, 2020, tattoos on pigmented silicone, 20 × 40 × 15 cm (7 3⁄4 × 15 3⁄4 × 6 in)
PONTYPOOL: too far gone, 2020, tattoos on pigmented silicone, 30 × 30 × 10 cm (11 ¾ × 11 ¾ × 4 in)
COOTIES: the rotten core, 2020, tattoos on pigmented silicone and cotton hat, 35 × 25 × 30 (13 ¾ × 9 ¾ × 11 ¾ in)
We are sorry to notify you that due to the end of the world your package, installation view at Pequod Co., Mexico City, 2020
CARGO: A lone rider in the burning sky and his trusted armored dragon, 2020, Tattoos on pigmented silicone, anti-static foam and hard case
42 × 52 × 50 cm (16 1⁄2 × 20 1⁄2 × 19 1⁄2 in), installation view at Lodos, Mexico City, 2020
CARGO: A lone rider in the burning sky and his trusted armored dragon, installation view at the 7th Athens Biennale: Eclipse, 2021
RHYTHM RATTLESNAKE: The world ends with you, baby centipede, 2020, tattoo on pigmented silicone, 23 × 15 × 9 cm (9 × 6 × 3 ½ in), installation view at the 7th Athens Biennale: Eclipse, 2021
SMASH: My head fell through the roof and a demon played basketball with it (Toon Dark Magician Girl), 2020, tattoos on pigmented silicone and poly bubble mailer, installation view at the 7th Athens Biennale: Eclipse, 2021
REANIMATOR: days gone bye, 2020, installation view at AMEXICA, Institut Culturel du Mexique in Paris, 2023