Born 1970 in Mexico City, Mexico.
Lives and works in Brussels.
Education |
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| 1993–1995 | Master of Arts in Fine Art, Goldsmiths College, University of London |
| 1988–1992 | Licenciado en Artes Visuales, Escuela Nacional de Artes Plásticas / UNAM, Mexico City |
| 1987–1990 | Gabriel Orozco's workshop, with Abraham Cruzvillegas, Damián Ortega and Dr. Lakra, Mexico |
Awards |
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| 2007 | Artist-in-residence OCA Office for Contemporary Art, Norway |
| 2006 | Artist in Residence Govett-Brewster Art Gallery, New Plymouth, New Zealand |
| 2002 | ACA Master, Artist in residence. Atlantic Center for the Arts, United States |
Solo Exhibitions (selection) |
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| 2020 | spending static to save gas, The Douglas Hyde Gallery, Dublin |
| 2019 | sorted, resorted, WIELS, Brussels |
| 2018 | spending static to save gas, Oakville Galleries at Centennial Square, Oakville |
| 2017 | Gabriel Kuri, with Harold Ancart and Michel François, E2N–Espace 251 Nord, La Comète, Liège |
| 2016 | Product Testing Unit, Alte Fabrik, Rapperswil |
| 2014 | Gabriel Kuri: with personal thanks to their contractual thingness, Aspen Art Museum, Aspen, CO |
| All probability resolves into form, The Common Guild, Glasgow | |
| 2013 | bottled water branded water, Parc Saint Léger, Centre d’art contemporain, Pougues-les-Eaux |
| 2011 | Before Contingency after the Fact, South London Gallery, London |
| Nobody Needs to Know the Price of Your Saab, Blaffer Gallery, Art Museum of the University of Houston; Institute of Contemporary Art, Boston | |
| 2010 | Soft Information in Your Hard Facts, Museion, Museum of modern and contemporary art, Bolzano |
| Join the dots and make a point, Kunstverein Freiburg, Freiburg; Kunstverein Bielefeld, Bielefeld | |
| 2003 | Start to Stop Stopping, MHKA Museum of Modern Art, Antwerp |
| 2000 | Momento de Importancia, Museo Rufino Tamayo, Mexico City |
| 1999 | Plan de san lunes, Museo de las Artes de Guadalajara, Guadalajara |
Group Exhibitions (selection) |
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| 2018 | Archipelago – A Problem (On Exactitude in Science), Tiön Projects, The Hague |
| Converter, Kunstmuseum St. Gallen, St. Gallen | |
| 2017 | Desert X, The Coachella Valley, Palm Springs, CA |
| Capital Flows, Kunsthalle Tübingen, Tübingen | |
| Birth as Criterion, 32nd Biennial of Graphic Arts Ljubljana, Ljubljana | |
| Field Guide, Remai Modern, Saskatoon | |
| Living Apart Together: Recent Acquisitions, Hammer Museum, Los Angeles | |
| 2016 | L’Esprit du Bauhaus, L’Objet en Question, Musée des Arts Décoratifs, Paris |
| Portrait of the Artist as an Alter, FRAC Haute-Normandie, Sotteville-lès-Rouen | |
| Parc de Sculptures Contemporaines, Domaine du Muy, Le Muy | |
| The Natural Order of Things, Fundacíon Jumex, Mexico City | |
| The Distance of A Day, Israel Museum, Jerusalem | |
| me – new forms of self-portraiture, Schirn Kunsthalle Frankfurt | |
| 2015 | The Corner Show, Extra City Kunsthal, Antwerp |
| 12. Bienal de la Habana, Havana | |
| 2014 | Made in L.A., Hammer Museum, Los Angeles, CA |
| 2011 | Venice Biennale |
| 2008 | Berlin Biennale |
| 2003 | Venice Biennale |
Gabriel Kuri’s oeuvre encompasses diverse media including sculpture, collage and installation, often using repurposed natural, industrial, and mass-produced objects (insulation foam, shells, soda cans, stones, or ticket receipts, for instance) to craft eloquent works of art. Kuri’s works often include traces of past human activities, such as empty bottles or cans, cigarette butts or ticket stubs. They function as signs of spent time, energy or currency — a recurring theme in the artist’s work.
