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Capital and Death

Born and developed on the world’s busiest border between Mexico and California, in the multicultural, irreverent, innovative and borderline beat of the city of Tijuana, the visual art of Andrew Roberts begins with a historical exploration on the parallel development of war technology and the entertainment industry. Analyzing the role of images as operational weapons in military conflicts and their poetic, political and aesthetic ramifications in the production of capital and death.

Andrew’s artwork primarily takes the form of multimedia narrative and speculative fiction, materialized across space through digital animations and immersive installations in the company of objects, actions and essayistic writings. His animations and installations have been exhibited all over the world, from England to Australia, from China to the United States. In collaboration with his longtime partner Mauricio Muñoz, he is the co-director of Deslave, an artist-run space based in Tijuana since 2017.

The Harvest (feat. Mauricio Muñoz)
RHYTHM RATTLESNAKE: The world ends with you, baby centipede, 2020
BRAINDEAD: what comes after, 2020
La Horda, installation at Pequod Co., Mexico City, 2020
El regreso de los muertos vivientes 3 (The return of the living dead III), 4K video, digital animation, color, sound, 2020
FRAGILE: Sunflower vending machine, 2020
CARGO: a certain doom, 2020
La Horda, installation at Pequod Co., Mexico City, 2020
CLOYSTER: One hundred and two million Cthulhu particles deep beneath your rectum, 2020
A house on fire is a ghost, a factory on fire is a specter, computer-generated installation at Best Practice
A house on fire is a ghost, a factory on fire is a specter, computer-generated installation at Best Practice
SMASH: My head fell through the roof and a demon played basketball with it (Toon Dark Magician Girl), 2020

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