Ulrik López’s practice is concerned with the exchange and circulation of objects and their transition from ideas to phenomena in relation to space. Addressing issues of perception and representation from the perspective of an amateur forensic scientist or archaeologist, he treats objects, materials and images as fossils in order to interpret and communicate their coded information.
Among his solo and group exhibitions are Beyond Art Lectures, Whitstable Biennale, Tate Exchange/Tate Modern, London (2018); Limbo, Mana Contemporary, Miami (2017); Project Room, Casa Maauad, Mexico City (2017); CIFO Grant Program Exhibition, Cisneros Fontanals Art Foundation, Miami (2017); Antilles for the Antilleans, LACE, Los Angeles (2016); From public education, Carrillo Gil Art Museum, Mexico City (2016); Azotea: A double origin, Galería Agustina Ferreyra, San Juan, Puerto Rico (2015); On the surface, more than what is hidden from view, ATEA, Mexico City (2015); Between Utopia and Disenchantment, Bordas Garden, Cuernavaca, Mexico (2014); National Art Show, Museum of the Arsenal of the Old Spanish Marina, La Puntilla, San Juan (2013); Open at 8: Drawing Exhibition, White House Museum, San Juan (2013) and Landscape / Evident Project, White House Museum, San Juan (2012).
López’s publications include Caribbean Seedbed (Crater Invertido, 2016), Caribbean Prologue: A Trip through the Mexican Caribbean (self-published, 2016) and Caribbean: Together Apart: Contemporary Artists from (parts of) the Caribbean (Fabrica, 2014).
He received a grant from the CIFO Commission and Grant Program, Cisneros Fontanals Art Foundation, Miami (2017). He was also an Alice C. Cole ’42 Fellow, Wellesley College, Wellesley, US (2016–2017) and a Fellow of the 4th edition of Arte Actual, Bancomer-MACG Foundation, Mexico City (2014–2015). He earned his BFA in sculpture with a minor in industrial design from Escuela de Artes Plásticas de Puerto Rico (EAP), San Juan (2013).
Born in 1989 in Mexico City, López currently lives and works between San Juan and Mexico City.
Sharjah Biennial 14